In the walled-in West Berlin of the eighties, those who had fled the provincialism of West Germany found a thriving leftwing alternative subculture. It was a melting pot of punk, post-punk and neo-Dada, new experimental music and performance art. And there in the midst of it is Anno Dittmer, clicking away with his camera.
Rudi Meisel, born in 1949 in Wilhelmshaven and raised in Osnabrück, studied photography in the class of Otto Steinert at the Folkwangschule Essen and in 1975 founded the group collective of photographers VISUM , together with André Gelpke and Gerd Ludwig. From 1971 onwards he worked as a freelance reportage photographer for magazines including Spiegel, ZEIT, stern, Time, Newsweek, Merian, GEO, ZEITmagazin.
dienacht Magazine presents this double issue about the Nigerian photography scene – it’s a catalogue for the Lagos Open Range festival on the one side; and showcases works by Nigerian photographers made in photography workshops in Lagos over the last two years on the other side.
Sova is an independent mono- thematic and self-published photography & art magazine with the aim of featuring evolving artists from all around the globe.
Kunstverein für die Rheinlande und Westfalen (Hrsg.): Vom Bauhaus zum Bildjournalismus: Umbo (1995)
He is one of the most important photographers of Bauhaus and modernism, but first found his creative medium after completing his studies at the school of design: Otto Maximilian Umbehr, also known as Umbo. Born 1902 in Duesseldorf, Umbo arrives at the Bauhaus in Weimar in autumn 1921, intending to become a painter.
Sputnik Photos is an international collective founded in 2006 by documentary photographers from Central and Eastern Europe. Lost Territories (http://lta.sputnikphotos.com) is a project about former soviet republics by Sputnik Photos.
This collection brings together photographs taken on two separate visits Cartier-Bresson made to Mexico―the first in 1934, just as he was embarking on his photographic career, and the second some thirty years later. The dramatic images, preceded by a commentary from Carlos Fuentes, record with brutal accuracy the panorama of everyday life – an execution wall; crowded markets; stark, dusty landscapes; children playing in alleys.
As we wrote in the first issue, we have clearly defined the overall goal of our photo magazine, “Putting out information about Kyushu through our photography, as we were all born in Kyushu, grew up in Kyushu, and are now living in Kyushu, Japan. Authors: Miki Matsuoka, Yoshinobu Uchida, Yuya Ozaki.
Helen Levitt (1913-2009) had her first solo exhibition at the Museum of Modern Art, New York, in 1943. Levitt’s photographs appeared in Edward Steichen’s landmark 1955 show The Family of Man and in more recent exhibitions of great importance, including MoMA’s Photography Until Now and the National Gallery of Art’s On the Art of Fixing a Shadow in Washington, D.C., both celebrating the invention of photography.
In December 2013 photographer Carlos Spottorno and reporter Guillermo Abril got from El País Semanal the assignment of preparing a series of stories about the European Union’s external borders. After three years working on the story, several covers, dozens of pages in magazines, and a World Press Photo, the authors set out to convey, with the 25,000 photographs and 15 notebooks they had compiled, the story of what is happening on the European Union’s borders, making use of an innovative narrative form.
Annett Gröschner; Arwed Messmer (Editors); Fritz Tiedemann: Berlin, Fruchtstrasse on March 27, 1952 (Hatje Cantz, 2012)
Commissioned by the municipal authorities of Berlin, on March 27, 1952, Fritz Tiedemann took photographs of Berlin’s Fruchtstraße between the Ostbahnhof and Stalinallee. Arwed Messmer (*1964 in Schopfheim) and Annett Gröschner (*1964 in Magdeburg) used these images as the source material for their project. As in previous joint projects, photographer Messmer and writer Gröschner explore aspects of the documentary in photography.
Keiko Nomura (Kobe, Japan) studied photography in Los Angeles and graduated from Visual Arts College Osaka. She has published 6 books.
Pieter Hugo’s There’s a Place in Hell for Me & My Friends is a series of close-up portraits of the artist and his friends, all of whom call South Africa home. Through a digital process of converting colour images to black and white while manipulating the colour channels, Hugo emphasizes the pigment (melanin) in his sitters’ skins so they appear heavily marked by blemishes and sun damage.