The catalogue for an exhibition of work by Bernd and Hilla Becher, held at Die Neue Sammlung (State Museum of Applied Art), Munich, March 6 – April 16, 1967. This was the first public institution exhibition of the photographers’ typological studies of industrial architecture. Previously, they had had a show at the Dusseldorf Academy of Fine Arts and only three gallery appearances. This is also the first catalogue of their work to be published and only the third time their work had appeared in print. Includes grids of lime kilns, gas tanks, water towers, conveyor scaffolds, processing plants, coal mineheads, cooling towers, blast furnaces, framework houses, and warehouses. Photographs by Bernd and Hilla Becher; essay by Wend Fischer.

In December 1968, the American artist Robert Smithson embarked on a field trip to the huge industrial complex in the Ruhr district of Germany. His local guides were the Dsseldorf-based artist duo of Bernd and Hilla Becher, and Konrad Fischer, in whose Dsseldorf gallery Smithson was scheduled to exhibit. The Bechers had begun their own project of photographing the vernacular industrial architecture of Northern Europe in the early 1960s, and had already spent several months photographing at Oberhausen as well as at adjacent industrial sites. The different series of photographs made by Smithson and the Bechers of the same site foreground their respective preoccupations with the industrial landscape and the process of production and entropy, with systems and their inevitable dissolution. Their contrasting bodies of work embody alternate perspectives on time: the Bechers’ sense of historical time and Smithson’s of the geological. Though formally divergent, each artist’s work comprises a radical rethinking of classical notions of beauty and landscape. Neither the Bechers’ typologies nor Smithson’s projects were possible without prospecting in neglected parts of the landscape, whose distressed state refuted the relationship between history and progress.

The catalogue for an exhibition of the Becher’s grids of mineheads, watertowers, blast furnaces, framework houses, cooling towers, etc. The show opened at the Venice Biennale in 1990 and later traveled to Germany and the US. Photographs by Bernd and Hilla Becher; preface by Klaus Bussman.

Bernd & Hilda Becher are among the most influential artists of our time. The Bechers initiated their work on industrial heritage threatened with destruction at the end of the 50s. They set up what was to become one of the largest industrial archival funds of our time. For the first time, the work of the two German photographers is resented from a historical perspective through the printed matter; thus allowing for a comprehension of the different stages in their practice, notably the shift from a conception of the work identified by a unique photograph to a representation of the work as a series of images, or typology.

For nearly four decades this renowned German husband-and-wife team of photographers has been paying tribute to the industrial landscape. Their work ranks internationally among the most significant achievements in the field of industrial photography. The 64 images in this collection comprise a typical cross-section of the Bechers’ work. Captured in stark black and white, the structures here — American and European grain elevators, gas tanks, blast furnaces, water towers — are impeccably presented in square, frontal images which highlight their architectural complexities as well as their otherworldly presence upon a vast horizontal landscape. Making no attempts to glamorize their subjects, and offering no visual commentary, the Bechers nevertheless manage to capture the eerily beautiful austerity of these familiar structures. Their unadorned approach which portrays leaden skies and excludes any organic presence, enables viewers to study and appreciate the endless variations of industrial architecture, structures which although an integral part of the world’s landscape, are often overlooked.

Description: Yet Untitled collects together a dedicated selection of contemporary photography. Presented in a uniquely straightforward fashion, with strong nods to the grid, this volume presents work with a range of concerns and content. Included are photographers who focus on issues of documentation, such as the “Becherklasse” (Bernd & Hilla Becher and their former students Candida Hafer, Thomas Ruff and Thomas Struth); those who deal in the subjective, following in the wake of Otto Steinert; and those who have grouped themselves around Michael Schmidt since the early 80s. Nan Goldin, Lee Friedlander, Bettina Rheims, Tom Wood and Hiroshi Sugimoto are just some of the international artists featured. Brought together over the last seven years by Hannover-based traffic planner Bernd F. Knne, the work in Yet Untitled offers a fascinating overview of recent trends in American and European photography. Accompanying essays and an interview with the collector explore the historical development of contemporary photography on both sides of the Atlantic.

Published on the occasion of the major 2004 retrospective exhibition, Axel Hütte: Terra Incognita, at the Museo Nacional Centro de Arte Reina Sofia, Madrid. The catalogue covers key works from 1982-2003, including his portrait typologies. From the publisher: “Axel Hütte, born in Essen in 1951 and a member of Bernd Becher’s master class at the Düsseldorf Academy of Art, is one of the group of younger German photographers who, in the past twenty years, have established a firm presence on the international art scene. Early on, Hütte has been fascinated by landscape photography, albeit a broad theme but one in which his particular approach has spawned an almost programmatic portrayal of the confrontation between the city and the countryside. Between pure ‘pieces of nature’ (mist-shrouded mountain peaks, panoramic jungles and deserts, ocean horizons and night skies) and their opposite (oppressive street vistas that are quite literally dead-ends), Hütte repeatedly moves in some grey zone that is a neither/nor: industrial estates on the edge of town, company buildings in green belts, farmed land, seen through the concrete pillars of new commercial buildings…” Axel Hütte’s focus is the confrontation between city and countryside, between foggy mountains, deserts, sea horizons or night skies and uneasy no-exit streets.”

Thomas Schütte is a catalog of works by this contemporary German artist. Schütte studied under Gerhard Richter, Benjamin Buchloh, and Bernd and Hilla Becher at the Düsseldorf Academy in the 1970s. He comes from that strong conceptual background, but as his career matured the emotional content of his work evolved and became much more potent. Schütte’s work is incredibly eclectic: ceramic figures, architectural models, drawings, outdoor sculptures, photographs, and installations. A recent work, Big Spirits (1996), is a collection of larger-than-life-size aluminum figures that seem to be morphing before one’s eyes. They are at once ghost, human, and machine. Also riveting is The Innocents (1994), a series of photographs of the heads of handmade figurines, and United Enemies, A Play in Ten Scenes (1993)–offset lithographs, also of figurines wrapped in Schütte’s clothes. His watercolors are beautiful, ranging from drawings of fruit to portraits of women. Whatever the project, Schütte is tapped in to a particular humanity. Included in the book are essays by Julian Heynen and Angela Vettese, an interview with James Lingwood, and an essay by Roman philosopher Seneca, chosen by the artist. There is also a story by Schütte–printed in English for the first time.

This exhibition catalogue, published by the Musée d’Art Modern of Paris in 1981, includes works by Bill Beckley, Hilla and Bernd Becher, Christian Boltanski, Victor Burgin, James Collins, Chérif and Silvie Defraoui, Stefan de Jaeger, Jan Dibbets, Tom Drahos, Hans Peter Feldmann, Hamish Fulton, Paul-Armand Gette, Jochen Gerz, Luigi Ghirri, Gibert and George, Jan Groover, David Haxton, John Hillard, Nicolas Hondrogen, Les Krims, Edmund Kuppel, Jean Le Gac, Barbara and Michael Leisgen, Annette Messager, Giuseppe Penone, Richard Prince, Arnulf Reiner, Edward Ruscha, Sarkis, Cindy Sherman, Michael Snow, Eve Sonneman, Bruno Stevens, William Wegman, and Michele Zaza.

Gursky’s retrospective at New York’s Museum of Modern Art this spring (now showing in Chicago) was just the latest achievement by this German photographer, ranked among the half-dozen most important art photographers now working. Galassi, MOMA’s chief photography curator, does an excellent job of tracing the artist’s influences and development in his engaging essay. Moreover, the illustrations of work by his mentors, especially Bernd and Hilla Becher, as well as of his own early work, commercial work, and school projects, are highly informative. The 59 large-format plates (48 of them from the 1990s) forming the catalog that follows concentrate on his mature themes: massive and empty modern buildings, crowded public spaces filled with frenetic, impersonal activity, and landscapes that most often look at a built topology. The combination of his unique, painterly use of the camera and his ability to capture the beehive of contemporary society (whether the images are occupied or not) rightfully have earned him his current position. This best available overview is highly recommended for all libraries. Eric Bryant, “Library Journal”
Copyright 2001 Reed Business Information, Inc. –This text refers to an alternate Hardcover edition.

Le Magasin, the National Contemporary Art Center of Grenoble, was an early and excellent model of the rehabilitation of an abandoned industrial site for contemporary art. It is now emerging from a secondary period of renovation, and this book celebrates its renewal, its history and its ongoing role in expanding the domain of curatorial experimentation. Among those projects presented here, many of which have never before been published, are works from globally renowned artists including Vito Acconci, John Baldessari, Bernd & Hilla Becher, Joseph Beuys, Alighiero Boetti, Barbara Kruger, Thomas Ruff and Sol Le Witt. Le Magasin 1986-2006 is not only an overview of a seminal institution and a wide-ranging reference book on contemporary art, but also a meditation on the evolution of the relationships between the institution and the artist.

The focus of the NRW-Forum exhibition is on Stephen Shore, a key figure in the US New Color Photography movement.The first part of the exhibition, which is based on the New York Aperture Foundation’s Biographical Landscape retrospective, will provide a comprehensive overview of Shore’s ground-breaking work in the 1970s and 1980s. From an early stage, the work of the US New Color Photography movement influenced the students on Bernd Becher’s photography course at the Kunstakademie in Düsseldorf, a course which was created in 1976. The second part of the exhibition will explore the innovative motifs that Becher’s class developed in the exciting area between their own photographic tradition and that of the US tradition. Participating artists: “Stephen Shore, Bernd und Hilla Becher, Thomas Struth, Volker Döhne, Axel Hütte, Candida Höfer, Thomas Ruff, Tata Ronkholz, Wendelin Bottländer, Andreas Gursky, Martin Rosswog, Andi Brenner, Simone Nieweg, Boris Becker, Kris Scholz, Stefan Schneider, Claudia Fährenkemper, Claus Goedicke, Matthias Koch, Laurenz Berges, Elger Esser, Miles Coolidge, Bernhard Fuchs”

This artist’s book by the influential but deliberately elusive Dusseldorf conceptual photographer features a series of pictures of a woman putting on her makeup. A peer of Gerhard Richter, Bernd & Hilla Becher and Joseph Beuys, Feldmann helped pave the way for artists like Richard Prince, Sherrie Levine and Christopher Williams.

Photography After Conceptual Art presents a series of original essays that address substantive theoretical, historical, and aesthetic issues raised by post-1960s photography as a mainstream artistic medium†

  • Appeals to people interested in artist’s use of photography and in contemporary art††
  • Tracks the efflorescence of photography as one of the most important mediums for contemporary art†
  • Explores the relation between recent art, theory and aesthetics, for which photography serves as an important test case†
  • Includes a number of the essays with previously unpublished photographs
  • Artists discussed include Ed Ruscha, Bernd and Hilla Becher, Douglas Huebler, Mel Bochner, Sherrie Levine, Roni Horn, Thomas Demand, and Jeff Wall

Indice ( un capitolo per ogni artista, 6/9 tavole per ogni artista / a chapter for every artist, 6/9 plates for every artist) / Index: Walter De Maria / Bruce Nauman / Dennis Oppenheim / Mario Merz / Robert Morris / Piero Manzoni / Cristo / Vito Acconci / Michael Heizer / Joseph Kosuth / Gilbert & George / Sol Lewitt / Richard Long / Jannis Kounellis / Francesco Lo Savio / Dan Flavin / Agnes Martin / Bernd & Hilla Becher / Robert Ryman / Giulio Paolini / Daniel Buren / Richard Tuttle / On Kawara / Carl Andre / Joseph Beuys / Donald Judd

The Walther Collection is a private international art collection dedicated to collecting and exhibiting contemporary photography with special emphasis on the works of African and Asian artists. The inaugural exhibition of the collection will open to the public in June 2010 in the village of Burlafingen near Ulm, Germany. It is a dynamic collection, constantly growing and driven by four core activities: collecting, curating, exhibiting and publishing. Each activity is designed to present the works of the artists and to engage them in dialogue with the general public and the specialized field of contemporary art. The Walther Collection encompasses more than 700 works of widely noted as well as exciting new African and Asian artists, which makes it one of the most comprehensive collections of African photography worldwide. These extensive holdings are contextualized and complemented by historically significant contributions to the art of photography mainly from Germany and the United States, which expand the understanding, conception and history of the medium. The exhibitions and their curators at The Walther Collection will change once a year. Each year, based on a different curatorial emphasis, the collection will be examined and new constellations of the holdings and the new acquisitions will be presented. The Walther Collection will present in the inaugural exhibition a series of four projects in the nine galleries of its three buildings under the curatorial direction of Okwui Enwezor. It will integrate the work of three generations of African artists and photographers and a selection of the work of classical German photographers: Seydou Ke ta (Mali), Malick Sidib (Mali), J.D. ‘Okhai Ojeikere (Nigeria), Rotimi Fani-Kayode (Nigeria), Santu Mofokeng (South Africa), as well as August Sander and Bernd and Hilla Becher (Germany). The exhibition series will centre on the issues of portraiture, identity, body, sexuality and performance. In total 230 works of 31 artists from 13 nations, among them South Africa, Nigeria, Kenya, Ethiopia, Mali, Benin, Cameroon and Senegal, are presented. This comprehensive exhibition book contains the full page reproductions of all works on display. It will include contributions by Okwui Enwezor, Virginia Heckert, Kobena Mercer, Chika Okeke-Agulu, Gabriele Conrath-Scholl and Deborah Willis as well as a conversation between William Hartshorn and Artur Walther.

In all eras there have been artists who have aspired to encyclopedic summation of the world, to find a form to accommodate the mess, as Samuel Beckett once put it. The Renaissance marked the juncture at which it became impossible for any one person to have read every book in existence (just as books became widely available for the first time, ironically); today it would be a feat even to count the number of toothpastes in your average grocery store. Andreas Gursky’s photographs are merciless in their vertiginous will to make every last tube of toothpaste count, to compel every constituent into legibility. His optical fanaticism is not an effect of specific consumerist critique so much as a desire to set before the eye what was deemed too much for the mind, pressing the extreme surfeit of the world’s contents against its limits. For this volume, Gursky has chosen more than 150 works from his fund of photographs, reaching back to his student days at the Folkwang Hochschule Essen and his studies with Bernd and Hilla Becher at the Kunstakademie Düsseldorf. The earliest exposures here include the Desk Attendants series and other unpublished photographs, and the most recent images were conceived especially for the book. Every single exposure in Gursky’s encyclopedic morphology is a vital piece in the puzzle, which, over the course of his 28-year career, has amounted to an encyclopedia of the unencompassable.

Thomas Struth, born in 1954, stuided with Gerhard Richter and Bernd Becher in Dusseldorf. Starting with urban street scenes, portraits, and landscapes, he is best known for his Museum Photographs and Paradise series. Holding a chair at the Hochschule fur Gestaltung in Karlsruhe from 1993 to 1996, Struth is a leading proponent of German arts and international photography

From Albrecht Fuchs’ magnetic portraits of Sarah Lucas, Raymond Pettibon, Jonathan Meese, Mark Leckey and other international art stars to Wiebke Loeper’s strangely moving and often desolate landscapes to Matthias Koch’s deadpan images of grounded submarines, government ministries and disused military bunkers, this collection highlights 10 new positions in German photography today, as noted by the internationally renowned curator and photo expert Thomas Weski. While for many years the German photography scene was dominated by Bernd Becher’s first generation of students at the famous Art Academy Dusseldorf, more recently, a vivid, heterogeneous scene has developed outside of any particular region or style. With generous selections of work by Fuchs, Loeper, Koch, Laurenz Berges, Karin Geiger, Claus Goedicke, Uschi Huber, Nicola Meitzner, Peter Piller and Heidi Specker, as well as a short interview with and bio for each artist, Presentation/Representation confidently introduces the next generation to watch.

Nothing seemed off-limits in the radical new art of the 1970s. Far from remaining satisfied with the old hierarchy of media, young artists emerged with a host of heretical alternatives in mind, including film, video, performance, raw documentation, photography and texts. Suddenly, everything seemed possible. Art became anything that the artist wanted it to be. Some, like Richard Long and Dennis Oppenheim, decided that the entire natural world could now be regarded as their working territory. Others, including Gilbert & George and Klaus Rinke, treated themselves as embodiments of living sculpture. Daniel Buren displayed his uncompromising work on a billboard in the street, while Bernd and Hilla Becher photographed the ‘anonymous sculpture’ of industrial structures. Dan Graham’s interest ranged from architecture to social interaction on video, and Hans Haacke investigated the relationship between art and politics. Women artists like Susan Hiller and the intensely controversial Mary Kelly explored territory hitherto uncharted by their male counterparts, while the possibilities of performance art were tested by Stuart Brisley and groups as exuberant as Coum and Nice Style.

In the decades following World War II artists in Europe, North America, and South America began experimenting with geometric forms. Rebelling equally against the mathematical purity of earlier geometric modernism and what many saw as the emotional excesses of abstract expressionism and Art Informel, these artists emphasized three-dimensionality, the repetition of modular elements, the conceptual underpinnings of art, and the performative to engage the viewer in the creative process and achieve broader intellectual, sensual, and emotive range in their work. Beyond Geometry, which accompanies an exhibition at the Los Angeles County Museum of Art, showcases over 200 works by 139 artists that chart the development of these experiments in form. It is noteworthy that artists on three continents began exploring these forms at the same time, often unaware of aesthetic developments elsewhere. Beyond Geometry brings together examples of European and Latin American concrete art, Argentine Arte Madí-Brazilian Neo-Concretism, Kinetic and Op Art, Minimalism, and various forms of post-minimalism including systematic forms of process and conceptual art. These movements and genres developed from a concern with the idea that all meaning resides in the physical object itself, rather than in its metaphorical content or relationship to the outside world.

Beyond Geometry includes work by such artists as Josef Albers, Bernd and Hilla Becher, Max Bill, Lucio Fontana, Eva Hesse, On Kawara, Sol LeWitt, Helio Oiticica, Blinky Palermo, Bridget Riley, Jesus Rafael Soto, and Victor Vasarely. It contains essays by Lynn Zelevansky, Ines Katzenstein, Valerie Hillings, Miklos Peternak, Peter Frank, and Brandon LaBelle that place the work in the context of art history and the aesthetic and social issues of the time.

With its title taken from a signature work by Bruce Nauman, Life, Death, Love, Hate ,Pleasure, Pain presents a selection of approximately 190 works from the collection of the Museum of Contemporary Art, Chicago. A wide-ranging, insightful survey, arranged in roughly chronological order, it features work by such artists as Vito Acconci, Magdalena Abakanowicz, Francis Bacon, Matthew Barney, Joseph, Beuys, Christo, Iñigo Manglano-Ovalle, KerryJames Marshall, Mariko Mori, Martin Puryear, Richard Serra, Yinka Shonibare, and H. C. Westermann. In an introductory essay, chief curator Elizabeth Smith discusses key trends in art from World War II to the present and provides a brief history of the MCA and its collection. Additional, accessible short texts by the curatorial staff of the MCA focus on individual works. Artists Include: Ann Hamilton, Felix Gonzalez-Torres, Jenny Holzer, Max Ernst, Cady Noland, Jeanne Dunning, Jean Dubuffet, Chuck Close, Christo , Alexander Calder, Joseph Beuys, Bernd & Hilla Becher, Matthew Barney, Francis Bacon, Dan Flavin, Adrian Piper and Vito Acconci, amongst many others. Essays by Lynne Warren, Elizabeth A. T. Smith, Alison Pearlman, Julie Rodrigues, Francesco Bonami, Staci Boris, Sylvia Chivaratanond, Monika Gehlawat, Lela Hersh, Dominic Molon, Heather Ring, Michael Rooks, Jenni Sorkin, and Tricia Van Eck. Foreword by Robert Fitzpatrick.

From the publisher: “No other artist from the famous Bechers’ class of photography at the conception and the range of his works as Thomas Ruff. The catalogue of works from 1979 to 2001, which is now available, is the first complete compilation of his photographic work, including the current series of “nudes,” which has caused quite a stir and controversial discussions. Preceding the catalog is a series of pictures selected by Thomas Ruff himself. Like his fellow students Andreas Gursky, Axel Hütte, and Thomas Struth, Thomas Ruff, today the successor to his teachers Bernd and Hilla Becher at the Kunstakademie Düsseldorf, has essentially contributed to the international acceptance of photography as art.”

German photographer Struth is among the artists from the celebrated D sseldorf School who studied under conceptualists Bernd and Hilla Becher in the 1970s and 1980s. Their rigid, deadpan style of uniform picture making proved a rich starting point, and in maturity Struth’s work excavates the nature of photography itself. Three new titles encapsulate the work of this important midcareer artist. Portraits, published on the occasion of Struth’s one-man exhibition at the Sprengel Museum in Hanover, contains the artist’s psychologically loaded frontal images of his human subjects. In the words of curator Weski, Struth’s camera is applied like “a two-way mirror,” reflecting both the photographer and his view of the subject with us, the viewer, as the third partner. Still presents an overview of the artist’s work, including his flower pieces, some portraiture, and his early street photos. Dubbed “subconscious places” by the photographer, the city roads, with their austerity and vanishing point perspective, convey multiple layers of history as well as the “photographic moment.” Museum Photographs, with its images of people viewing works of art in museums around the world, explores photography’s rivalry with painting as well as issues like how art changes by being in a museum, how it is displayed, and how we look at it. Including an outstanding essay by Belting, this slim, oversized book contains 17 large plates of the enormous photographs. In spite of its usefulness in bringing these works together and the high quality of the reproductions, this publication underscores an inherent difficulty in publishing Struth’s photography: because it is so much about photography itself, i.e., the photograph on the wall, this “translation” into book form strips away some meaning and a large portion of the effect. Both Museum Photographs and Portraits are recommended for larger art and photography collections, the former for its superior essay and the latter for its comprehensive look at this central series.

The first major monograph on Struth to be published in the United States, Still continues a notable tradition of books by German photographers from August Sander and Albert Renger-Patzsch to Hilla and Bernd Becher, and is a beautiful survey of Struth’s body of work, including stunning close-up views of flowers, restrained urban streetscapes, intimate portraits, and frenzied museum interiors.

Critic Peter Schjeldahl has written in the Village Voice: “Thomas Struth [is] one of a generation of photographers whose work is the latest strength of a German art culture that seems to have no end of aces up its sleeve . . . His urban shots apply Becheresque formulas of static, unpopulated (surely early-morning), shadowless views with a feel for the ?typical’ or ?average’ aspect of a subject. As if in compensation, Struth’s astonishing family portraits burn with human presence.” Struth began in the early 1980s to make steely black-and-white photographs of deserted city streets and decaying buildings. In recent years, his work has diversified in subject, scale, and color to embrace increasingly ambitious subjects and challenging locations. Struth has extended his urban investigation to the inhabitants and spaces of the city, from Milan to Tokyo, while his recent landscapes and portraits complete his unique vision of the alternately public and solitary conditions of being.

This anthology presents over two decades of the most memorable issues and events of contemporary art as seen through the pages of Flash Art, the controversial, contradictory art magazine that has influenced both cultural taste and artistic development for twenty-one years. From Arte Povera, Process Art, Conceptual Art, Performance Art, and Post-Conceptualism to Pictures, the Transavantgarde, the East Village, and NeoConceptualism, Flash Art has functioned as both forum and catalyst for current art trends. The book includes such artists and theorists as Bernd and Hilla Becher, Rebecca Horn, Joseph Kosuth, John Baldessari, Gordon Matta-Clark, Sherrie Levine, Gilles Deleuze, Edward Ruscha, Mimmo Paladino, Jean-Francois Lyotard, Frank Stella, Julia Kristeva, Jean Baudrillard, Fredric Jameson, Jeff Koons, Donald Judd, Peter Halley, David Salle, Gerhard Richter, and Germano Celant. It documents the magazine’s policy and trajectory throughout the course of contemporary culture a policy that has been consistently concerned with capturing the new and the radical, transforming them inevitably, into the event.

“Large-scale exhibition catalogue for show held at the Galerie 1900 – 2000 and the Galerie de Poche, Paris, France, October 8 – November 3, 1990. Text by Christian Schlatter. Includes writing by Mel Ramsden, Joseph Kosuth, Charles Harrison, Robert C. Morgan, Terry Atkinson, Michael Baldwin, Daniel Buren, and an essay from Art-Language. Artists featured include Vito Acconci, Vincenzo Agnetti, Art & Language, Terry Atkinson, John Baldessari, Michael Baldwin, Robert Barry, Bernd & Hilla Becher, Mel Bochner, Alighiero E. Boetti, Stanley Brouwn, Chris Burden, Daniel Buren, Victor Burgin, Hanne Darboven, Jan Dibbets, Braco Dimitrijevic, Barry Flanagan, Terry Fox, Dan Graham, Hans Haacke, Douglas Huebler, On Kawara, Joseph Kosuth, Christine Kozlov, David Lamelas, Barry Le Va, Les Levine, Richard Long, Robert Morris, Tania Mouraud, Maurizio Nannucci, Bruce Nauman, Dennis Oppenheim, Mel Ramsden, Allen Ruppersberg, John Stezaker, Bernar Venet, Lawrence Weiner, and Ian Wilson. Illustrated in black-and-white. With exhibition checklist. Texts in English and French. “

The relationship between architecture and photography is the focus of this book that features the work of eighteen influential artists, from the 1930s to the present day. Architecture has long been a subject matter for photographers, who utilize the medium not just to document the built world, but also to reveal wider truths about society. This book features chapters devoted to various artists–among them, Berenice Abbott, Walker Evans, Ed Ruscha, Bernd and Hilla Becher, Andreas Gursky and Iwan Baan–and includes 220 color and duotone images. Each chapter opens with a text introducing the artists’ work, followed by reproductions of their photographs. Arranged chronologically, the book documents the birth of the skyscraper against the backdrop of the Great Depression; the rise of the modernist tradition in America, post-colonial Africa, and India; the effects of industry on 1960s Europe; the increasing suburbanization of America and Europe; and the consequences of today’s mass urbanization in Asia, the Middle East, and South America. Far-reaching and penetrating, this volume reflects on the ongoing dialogue between photography and architecture.

Three volumes highlighting the contributions to international contemporary art by artists from Amsterdam, Paris, and Dusseldorf. Amsterdam: Ad Dekkers, Jeroen Henneman, Reinier Lucassen, Jan Roeland, Jan Schoonhoven, and Carel Visser. Paris: Christian Boltanski, Joel Kermarrec, Jean Le Gac, Jean-Pierre Raynaud, Jean-Michel Sanejouand, Gerard Titus-Carmel, Ben Vautier, and Claude Viallat. Düsseldorf: Bernd & Hilla Becher, Joseph Beuys, Marcel Broodthaers, Gotthard Graubner, Konrad Klapheck, Sigmar Polke, Dieter Rot, Klaus Rinke, Andre Thomkins, and Gunther Uëcker.

Luwa AG’s photography collection, initiated in 1990 in Zellweger, Switzerland, by Ruedi and Thomas Bechtler and never before shown in public, has since become one of the finest and most extensive collections in the area of conceptual and serial photography. Embracing the seventies to the present, it contains major works and groups of works by artists such as John Baldessari, Bernd and Hilla Becher, Sigmar Polke, Imi Knoebel, Martin Kippenberger, Thomas Ruff, Andreas Gursky, Fischli & Weiss, Roman Signer, Richard Prince, Jeff Wall, Hiroshi Sugimoto, Stan Douglas, Ken Lum, and Gabriel Orozco. This splendid publication unfurls a rich visual display, and texts by Stephan Berg, Konrad Bitterli, David Campany, Stefan Gronert, and Dora Imhof expound on this spectacular collection.

When recession-plagued New York City abandoned its industrial base in the 1970s, performance artists, photographers, and filmmakers found their own mixed uses for the city’s run-down lofts, abandoned piers, vacant lots, and deserted streets. Gordon Matta-Clark turned a sanitation pier into the celebrated work Day’s End and Betsy Sussler filmed its making; the photographic team Shunk-Kender shot a vast series of images of Willoughby Sharp’s Projects: Pier 18 (which included work by Vito Acconci, Mel Bochner, Dan Graham, Matta-Clark, and William Wegman, among others); and Cindy Sherman staged some of her Untitled Film Stills on the streets of Lower Manhattan. Mixed Use, Manhattan documents and illustrates these projects as well as more recent work by artists who continue to engage with the city’s public, underground, and improvised spaces. The book (which accompanies a major exhibition) focuses on several important photographic series: Peter Hujar’s 1976 nighttime photographs of Manhattan’s West Side; Alvin Baltrop’s Hudson River pier photographs from 1975-1985, most of which have never before been shown or published; David Wojnarowicz’s Rimbaud in New York (1978-1979), the first of Wojnarowicz’s works to be published; and several of Zoe Leonard’s photographic projects from the late 1990s on. The book includes 70 color and 130 black-and-white images, a chronology of the policy decisions and developments that altered the face of New York City from 1950 to the present; an autobiographical story by David Wojnarowicz; and essays by Johanna Burton, Lytle Shaw, Juan Suarez, and the exhibition’s curators, Lynne Cooke and Douglas Crimp. Artist included: Alvin Baltrop, Bernd and Hilla Becher, Dara Birnbaum, Jennifer Bolande, Stefan Brecht, Matthew Buckingham, Tom Burr, Roy Colmer, Moyra Davey, Terry Fox, William Gedney, Bernard Guillot, David Hammons, Sharon Hayes, Peter Hujar, Joan Jonas, Louise Lawler, Zoe Leonard, Sol LeWitt, Glenn Ligon, Robert Longo, Vera Lutter, Danny Lyon, Babette Mangolte, Gordon Matta-Clark, Steve McQueen, John Miller, Donald Moffett, James Nares, Max Neuhaus, Catherine Opie, Gabriel Orozco, Barbara Probst, Emily Roysdon, Cindy Sherman, Harry Shunk & Janos Kender, Charles Simonds, Thomas Struth, James Welling, David Wojnarowicz, and Christopher Wool

Exhibition catalogue published in conjunction with Prospect 69 held September 30 – October 12, 1969. Conceived of and organized by Konrad Fischer and Hans Strelow. Edited section by Seth Siegelaub incorporates interviews with Robert Barry, Douglas Huebler, Joseph Kosuth, and Lawrence Weiner conducted individually by themselves. rovides an overview of participating galleries and their artists.
Artists include Bernd & Hilla Becher, Hanne Darboven, Jan Dibbets, Bruno Gronen, Michael Heizer, Sol LeWitt, Richard Long, Reiner Ruthenbeck, and Niele Toroni. Additionally includes full-page images or projects by Robert Smithson (Mirror Displacement, Portland Isle, England, 1969), Charles Ross, Markus Raetz, Jean-Frédéric Schnyder, Jannis Kounellis, Eliseo Mattiacci, Stanley Brouwn, Alighero Bottti (1/2 page), Emilio Prini (1/2 page), Giuseppe Penone (1/2 page), Pier Paolo, Calzolari (1/2 page), E.P. Butler (1/2 page), Eric Orr (1/2 page), James Lee Byars (1/2 page), Paul Cotton (1/2 page), Hans Haacke, Lynda Benglis, Ron Cooper, Doug Wheeler, Giorgio Griffa, David Prentice, a double-page centerfold of blue stripes by Daniel Buren, Dennis Oppenheim, ZAJ-Gruppe, Dick Higgins, Joseph Beuys (photo by Ute Klophaus, David Lamelas, and 13 “Information” pages with advertising

References : “Seth Siegelaub : Beyond Conceptual Art” by Leontine Coelewij, Sara Martinetti, Marja Bloem, Julia Bryan-Wilson, Jo Melvin, Götz Langkau, Matilda McQuaid, Alan Kennedy, Seth Siegelaub. Köln and Amsterdam, Germany / Netherlands : Verlag der Buchandlung Walther König / Stedelijk Museum, 2016, pp. 176-179. “Six Years, The Dematerialization of the Art Object from 1966 to 1972 : A Cross-Reference Book of Information on Some Esthetic Boundaries . / edited and annotated by Lucy R. Lippard.” by Lucy R. Lippard. Praeger Publishers Inc., NY / DC : Praeger Publishers Inc., 1973, pp. 113 – 115.

The New Topographics: Photographs of a Man-Altered Landscape was one of those rare exhibitions that permanently alters how an art form is perceived. Held at the International Museum of Photography in Rochester, New York, in January 1975, it was curated by William Jenkins, who brought together ten contemporary photographers: Robert Adams, Lewis Baltz, Bernd and Hilla Becher, Joe Deal, Frank Gohlke, Nicholas Nixon, John Schott, Stephen Shore and Henry Wessel, Jr. Signaling the emergence of a new approach to landscape, the show effectively gave a name to a movement or style, although even today, the term “New Topographics”–more a conceptual gist than a precise adjective–is used to characterize the work of artists not yet born when the exhibition was held. Although the exhibit’s ambitions were hardly so grand, New Topographics has since come to be understood as marking a paradigm shift, for the show occurred just as photography ceased to be an isolated, self-defined practice and took its place within the contemporary art world. Arguably the last traditionally photographic style, New Topographics was also the first Photoconceptual style. In different ways, the artists thoughtfully engaged with their medium and its history, while simultaneously absorbing such issues as environmentalism, capitalism and national identity. In this vital reassessment of the genre, essays by Britt Salvesen and Alison Nordstrom accompany illustrations of selected works from the 1975 exhibition, with installation views and contextual comparisons, to demonstrate both the historical significance of New Topographics and its continued relevance today. The book also includes an illustrated checklist of the 1975 exhibition and an extensive bibliography.

The German photographic movement commonly known as the Dusseldorf School of Photography has become synonymous with artistic excellence and innovation. It began in the mid-1970s at the Kunstakademie Dusseldorf, under the instruction of the photographers Bernd and Hilla Becher, known for their comparative grids of mundane industrial buildings captured with an objective and clinical eye. This school has not only birthed some of today’s most important and successful photographers, but has also had a fundamental and lasting influence on the history of the medium. The Dusseldorf School of Photography presents over 160 images in a spectacular overview of the breadth of the Dusseldorf School from the early 1970s to today. This impeccable survey is filled with superb reproductions of the best-known photographs by three generations of key Dusseldorf artists: Bernd and Hilla Becher, Laurenz Berges, Elger Esser, Andreas Gursky, Candida Hofer, Axel Hutte, Simone Nieweg, Thomas Ruff, Jorg Sasse, Thomas Struth and Petra Wunderlich. With a scholarly text, extensive artist bios and a plate section dedicated to each of these artists, The Dusseldorf School of Photography offers the first comprehensive assessment of this important photographic movement-one that dominates the salesrooms and museums of our times.

A tabloid style artists’ project based on notions of exchange between Huebler and fifty artists: Eleanor Antin, Cazolari, Salvo, Alighiero Boetti, Hanne Darboven, Tim Zuck, David Askevold, John Goodyear, Lawrence Weiner, Roger Mazurquil, Charles Harper, Saul Ostrow, David Blume, Les Levine, Jack Burnham, Robert MacDonald, Carolyn Kite, Braco Dimitrijevic, John Pearson, Lucy Lippard, Tadashi Maeyama, Knimsa Kuriyama, Shyoji Kaneko, Kodo Tanaqua, Toshiyuki Sunohara, Hideharu Sato, Jum Mizukami, Hiroshi Kawatsu, Yutaka Matsuzawa, Gerald Ferguson, Boezem, Stanley Brouwn, Jan Dibbets, Adriaan Van Ravesteijn, Donald Burgy, Robert Barry, Christopher Cook, Edward Ruscha, Robert Cumming, Agnes Denes, Adrian Piper, Hans Haacke, John Baldessari, Sol LeWitt, Konrad Fischer, Daniel Buren, Gilbert & George, Bernd & Hilla Becher, Jaroslaw Kozlowski, Richards Jarden.

The German Stock Exchange in Frankfurt, headquartered in Germany and Luxembourg, has significantly extended its collection of photographs in the last year, acquiring primarily large-format works by upcoming artists. Hence the necessity to produce XL Photography 2, sequel to the two-year-old XL Photography. This volume features photographers who employ an unparalleled range of modes of design and expression, spanning the rather classical black-and-white photographs of Nicholas Nixon and the cool color photographs of Stephen Shore, as well as the innovative One-Minute Sculptures of Erwin Wurm. Under the artistic guidance of Jean-Christophe Ammann, the photographic collection of the German Stock Exchange in Frankfurt places established artists such as Bernd & Hilla Becher, SebastiNo Selgado, Philip-Lorca diCorcia, Rineke Dijkstra, Roni Horn, and Jrgen Teller next to younger, as yet-undiscovered talents. This luxuriously designed, large-scale picture book represents all significant positions taken by photography in the past ten years.

Some people once boldly predicted that photography would displace painting altogether. Others asked whether a photograph could be art in the first place. As it turned out, these two forms of expression have had a stimulating effect on one another during their long years of coexistence. The Image Regained illustrates, with works by outstanding contemporary artists and photographers, the intensity and consequences of this exchange over the past twenty years. Work by Amy Adler, Bernd & Hilla Becher, Rineke Dijkstra, Gilbert & George, Andreas Gursky, Amedeo Martegani, Elizabeth Peyton, Sigmar Polke, Gerhard Richter, Cindy Sherman, Thomas Struth, Jeff Wall, and others reveals that, more frequently than not, the encounter between painting and photography has rocked our very understanding of the image. Painting, under the influence of photography, is now finding its way back from the abstract to the figurative, whereas photography, in the 80s, claimed for itself the traditional painterly themes of portraiture and landscape. The breaking with conventional modes of perception has by now become programmatic. Paintings, for instance, now explore the properties of photography–the effects of light and shadow as well as blurred outlines for simulating different foci–and are hung next to photographs that suggest a painterly mode of creation. As varied as the artistic directions documented here may be, one commitment remains common: the endeavour to look long and close at our world, and to make the viewer stop and think.

Gursky’s retrospective at New York’s Museum of Modern Art this spring (now showing in Chicago) was just the latest achievement by this German photographer, ranked among the half-dozen most important art photographers now working. Galassi, MOMA’s chief photography curator, does an excellent job of tracing the artist’s influences and development in his engaging essay. Moreover, the illustrations of work by his mentors, especially Bernd and Hilla Becher, as well as of his own early work, commercial work, and school projects, are highly informative. The 59 large-format plates (48 of them from the 1990s) forming the catalog that follows concentrate on his mature themes: massive and empty modern buildings, crowded public spaces filled with frenetic, impersonal activity, and landscapes that most often look at a built topology. The combination of his unique, painterly use of the camera and his ability to capture the beehive of contemporary society (whether the images are occupied or not) rightfully have earned him his current position. This best available overview is highly recommended for all libraries. Eric Bryant, “Library Journal”
Copyright 2001 Reed Business Information, Inc. –This text refers to an alternate Hardcover edition.

Gursky’s retrospective at New York’s Museum of Modern Art this spring (now showing in Chicago) was just the latest achievement by this German photographer, ranked among the half-dozen most important art photographers now working. Galassi, MOMA’s chief photography curator, does an excellent job of tracing the artist’s influences and development in his engaging essay. Moreover, the illustrations of work by his mentors, especially Bernd and Hilla Becher, as well as of his own early work, commercial work, and school projects, are highly informative. The 59 large-format plates (48 of them from the 1990s) forming the catalog that follows concentrate on his mature themes: massive and empty modern buildings, crowded public spaces filled with frenetic, impersonal activity, and landscapes that most often look at a built topology. The combination of his unique, painterly use of the camera and his ability to capture the beehive of contemporary society (whether the images are occupied or not) rightfully have earned him his current position. This best available overview is highly recommended for all libraries. Eric Bryant, “Library Journal”
Copyright 2001 Reed Business Information, Inc.

After training at the Kunstakademie in Dusseldorf, Candida Hofer studied photography with Bernd and Hilla Becher from 1976 to 1982. The influence of the precise, scientifically minded Bechers (under whom Andreas Gursky, Thomas Struth and Thomas Ruff also studied), is very apparent in Hofer’s work. Her images are predominantly of public spaces – libraries, auditoriums, lobbies, museums, club houses. Hofer’s recent photographs present a systematic study of rooms in various libraries, some modern and institutional, others centuries old and grand. Her straightforward and detached style seems at first objective and purely documentary, but is ultimately overtaken by incongruous elements and the mimetic nature of her subject matter. People are noticeably absent from her highly formal images. Instead, Hofer emphasizes repeated forms within the rooms such as chairs, tables, bookshelves and light fixtures to create patterns and produce a sense of orderliness. However, despite their conspicuous absence, it is people in whom Hofer is most interested; our culture and lifestyle are reflected in the architecture and interiors we create.

Published in conjunction with Struth’s 1990 Renaissance Society exhibition-his first at a North American museum-this catalog documents the early architectural photographs for which Struth initially became known. Like an archeologist, Struth excises generation after generation of architecture layered within the urban infrastructure, and in the spirit of his predecessors and teachers, Bernd and Hilla Becher, this work as a whole serves as an record of the constantly transforming urban landscape. In his catalogue essay, Buchloh writes: “inasmuch as the work establishes itself in the triangle between photography, artistic sculptural practice, and architecture, it comments on their mutual interdependence. The longer one contemplates these images, the more it becomes obvious that Struth is also building an archive of a disappearing world.”

Negli ultimi decenni la fotografia è assurta a simbolo internazionale della produzione artistica di Düsseldorf: la consolidata Scuola di Düsseldorf rappresenta oggi l’eccellenza di questo mezzo, che articola nel modo più variegato e innovativo. Allo straordinario successo del fenomeno, sviluppatosi in un contesto geografico e artistico ben preciso, non era seguita fino ad ora una trattazione approfondita. Il presente volume intende colmare la lacuna affrontando con organicità un movimento made in Germany che, per portata e risonanza globale, è paragonabile soltanto al Bauhaus negli anni venti del Novecento. Ne furono artefici Bernd e Hilla Becher, che istituirono la Classe di fotografia alla Kunstakademie di Düsseldorf nel 1976, proprio mentre la loro produzione basata su “tipologie” si stava affermando sulla scena artistica tedesca e internazionale. Partendo dal processo di rinnovamento della fotografia documentaria perseguito dai Becher con estrema coerenza e impegno, le tre generazioni di artisti della Scuola di Düsseldorf hanno considerevolmente ampliato la visione fotografica inoltrandosi con le loro opere nei territori della sperimentazione multimediale e dell’arte digitale. Oggi le opere degli ex allievi dei Becher, accolte nei principali musei internazionali e molto quotate sul mercato, sono una finestra aperta sugli sviluppi futuri della fotografia d’arte.

Exhibition catalog featuring artists and art from Germany with photography. Over 60 color and black and white illustrations of works of art by Bernd and Hilla Becher, Joseph Beuys, Gerhard Richter, Thomas Ruff, Sigmar Polke and other Germany artists. Includes biographical information and bibliography for each artist

Band 1: malerei, plastik, performance.- Band 2: fotografie film video.- Band 3: handzeichnungen, utopisches design, bücher.- Artsts: Berenice Abbott, Hermann Albert, Carl Andre, Ben d’Armagnac, Christian Ludwig Attersee, Vito Acconci, Pierre Alechinsky, Theo Angelopoulos, Arman (Armand Fernandez), Bernhard Aubertin, Valerio Adami, Gerhard Altenbourg, Ottomar Anschütz, Fernando Arrabal, Joannis Avramidis, Robert Adamson, Robert Altman, Horst Antes, Eduardo Arroyo, Alice Aycock, Peter Ackermann, Anatol, Ant Farm, Art & Language, Billy Adler, Gisela Andersch, Shusaku Arakawa, David Askevold, Chantal Akerman, Laurie Anderson, Diane Arbus, Eugène Atget, Francis Bacon, Monika Baumgartl, Joseph Beuys, Fernando Botero, Kevin Brownlow & Andrew Mollo, Michael Badura, Hippolyte Bayard, Michael von Biel, Margaret Bourke-White, Günter Brus, Eduard Denis Baldús, Thomas Bayrle, Werner Bischof, Mathew B. Brady, Anatol Brosilowsky, Balthus, Cecil Beaton, Louis-Auguste Bisson & Auguste-Rosalie Bisson, Brassaï (Gyula Halász), Wojciech Bruszewski, Joachim Bandau, Bernd e Hilla Becher, Irma Blanck, George Brecht, Luis Buñuel, Jared Bark, Stephan Beck, Karl Blossfeldt, KP Brehmer, Chris Burden, Robert Barry, Bill Beckley, Bernhard Blume, George Hendrik Breitner, Daniel Buren, Jennifer Bartlett, John Ernest Joseph Bellocq, Mel Bochner, Heinz Breloh, Scott Burton, Gianfranco Baruchello, Carmelo Bene, Peter Bogdanovich, Robert Bresson, Michael Buthe, Giorgio Batistella, Franz Bernhard, Claus Böhmler, Stuart Brisley, James Lee Byars, Gerd Baukhage, Jean-Marie Bertholin, Blythe Bohnen, Jürgen Brodwolf, Horst H. Baumann, Nuccio Bertone, Karl Bohrmann, Marcel Broodthaers, Bodo Baumgarten, Jean-Louis Bertucelli, Christian Boltanski, Stanley Brouwn, Enzo Cacciola, Robert Capa, Barbara Chase-Riboud, Pinchas Cohen-Gan, Michael Craig-Martin, Julia Margaret Cameron, Henri Cartier-Bresson, Eduardo Chillida, James Collins, Fritz Cremer, Colin Campell, Étienne Carjat, Christo, Miguel Condé, José Luis Cuevas, Peter Campus, Ugo Carrega, Chryssa, Tony Conrad, Edward Curtis, Louis Cane, Lewis Carroll, Chuck Close, Steven Cortright, Veassis Caniaris, Claude Chabrol, Harold Cohen, Claudio Costa, Miodrag Djuric (Dado), Douglas Davis, Walter De Maria, Jim Dine, Juan Downey, Louis Daguerre, Ger Dekkers, Agnes Denes, Henry + Bool Alfred + John Dixon, Peter Downsborough, Hanne Darboven, Willem de Kooning, Fred Deux, Dore O., Michael Druks, Alan Davie, Philip Henry Delamotte, Jan Dibbets, Ugo Dossi, Marcel Duchamp, John Davies, Jack Delano, Braco Dimitrijevic, Christian Dotremont, David Douglas Duncan, Don Eddy, Paul Eliasberg, Heinz Emigholz, Ulrich Erben, Walker Evans, Benni Efrat, Ger van Elk, Ed Emshwiller, Hugo Erfurth, Valie Export, Sergej Eisenstein, Peter Henry Emerson, Leo Erb, Garth Evans, Öyvind Fahlström, Federico Fellini, Dan Flavin, Charles Frazier, Lee Friedlander, Herbert Falken, Roger Fenton, Richard Fleischer, Hermine Freed, Hamish Fulton, Ralston Farina, Armand Fernandez, Lucio Fontana, Will Frenken, Heidi Fasnacht, Vincenzo Ferrari, Fred Forest, Achim Freyer, Rainer Werner Fassbinder, Robert Filliou, Terry Fox, Gisèle Freund, Hans-Peter Feldmann, Wolfgang Gäfgen, Jochen Gerz, Tina Girouard, Dan Graham, Nancy Graves, Abel Gance, Paul-Armand Gette, Michael Gitlin, Eve Gramatzki, Alan Green, Alexander Gardner, Peter Gidal, Wilhelm von Gloeden, Tom J. Gramse, Marty Greenbaum, Winfred Gaul, Wolfram Giersbach, Jean-Luc Godard, Gotthard Graubner, Alberto Grifi, Rupprecht Geiger, Gilbert & George, Hubertus Gojowczyk, Nancy Graves, Robert Grosvenor, Michael Geissler, Frank Gilette, Kuno Gonschior, Walter Grasskamp, Hetum Gruber, Arnold Genthe, Raimund Girke, Camille Graeser, Gotthard Graubner, Renato Guttuso, Roel D’Haese, Haus-Rucker-Co, Wilhelm Hein, Lewis Hine, Nan Hoover, Helfried Hagenberg, Erich Hauser, Bernhard Heisig, Leon Hirszman, Rebecca Horn, David Hall, Lady Hawarden, Michael Heizer, Antonius Höckelmann, Horst P. Horst, Nigel Hall, Ron Hays, Al Held, David Hockney, George Hoyningen-Huene, Phillipe Halsman, Tim Head, Werner Herzog, Anatol Herzfeld, Alfred Hofkunst, Richard Hamilton, Erwin Heerich, Eva Hesse, Rudolf Hoflehner, Douglas Huebler, Heijo Hangen, Axel Heibel, David Octavius Hill, Edgar Hofschen, Danièle Huillet, Noriyuki Haraguchi, Birgit Hein, John Hilliard, Hans Hollein, Alfonso Hüppi, Karl Horst Hödicke, Shohei Imamura, Will Insley, Jean Ipoustéguy, Patrick Ireland, Hans Paul Isenrath, Ken Jacobs, Paul Jaray, Jasper Johns, Francis Benjamin Johnston, Miklós Jancsó, Jo Jastram, J. Douglas Johnson, Donald Judd, Horst Janssen, Alejandro Jodorowsky, Joan Jonas, Martha Jungwirth, Wolf Kahlen, Buster Keaton, Jürgen Klauke, Beril Korot, Ferdinand Kriwet, Max Kaminski, Ellsworth Kelly, Alexander Kluge, Joseph Kosuth, Germaine Krull, Howard Kanovitz, Michael Kenny, Werner Knaupp, Jannis Kounellis, Shigeko Kubota, Tadeusz Kantor, André Kertész, Günther Knipp, Andras Kovács, Stanley Kubrick, Allan Kaprow, Anselm Kiefer, Milan Knížák, Attila Kovács, Gary Kuehn, Dani Karavan, Harry Kipper, Imi Knoebel, Kurt Kren, Marin Karmitz, Alain Kirili, Alice Kochs, Dieter Krieg, Gertrude Kasebier, Ronald B. Kitaj, Christof Kohlhöfer, Richard Kriesche, On Kawara, Konrad Klapheck, Jiří Kolář, Les Krims, Willem de Kooning, László Lakner, Barry Le Va, Michael Leisgen, Lawrence Lobe, Urs Lüthi, Arthur Lamothe, Russell Lee, Les Levine, Francisco Lopez, Georg Platt Lynes, Richard Landry, Jean Le Gac, Sol LeWitt, Antonio Lopez-Garcia, Nikolaus Lang, Gustave Le Gray, Roy Lichtenstein, Joseph Losey, Dorothea Lange, Malcolm Le Grice, Richard Lindner, Bernhard Luginbühl, John Latham, Barbara Leisgen, Michael Lingner, Bernhard Lüthi, Heinz Mack, Kenneth Martin, Gerhard Merz, Alexander Mitta, Robert Morris, Nino Malfatti, Charles Marville, Mario Merz, Milan Mölzer, Alfons Maria Mucha, Felix H. Man (Hans Baumann), Roberto Matta, Borg Mesch, Bernard Moninot, Ugo Mulas, Robert Mangold, Gordon Matta-Clark, Anette Messager, Henry Moore, Antoni Muntadas, Andy Mann, Wolfgang Mattheuer, Adolphe de Meyer, Stefan Moore, Walter Murch, Werner Mantz, Cynthia Lee Maughan, Duane Michals, Carmengloria Morales, J.-J. Murphy, Piero Manzoni, Antony McCall, Henri Michaux, Marcello Morandini, Zoran Mušič, Giacomo Manzù, Barry McCallion, Rune Mields, Pit Morell, Eadweard Muybridge, Robert Mapplethorpe, Bruce McLean, Antoni Miralda, François Morellet, Brice Marden, Syd Mead, Josef Mikl, Maria Moreno, Agnes Martin, Dariush Mehrjui, Joan Miró, Malcolm Morley, Tomitaro Nachi, Bruce Nauman, Wolfgang Nestler, Joseph Nicéphore Niépce, Maria Nordman, Félix Nadar, Charles Nègre, Richard Newton, Ansgar Nierhoff, Gabriele & Helmut Nothhelfer, Maurizio Nannucci, Werner Nekes, Max Neuhaus, Richard Nonas, Lev V. Nussberg, Dore O., Timothy O’Sullivan, Roman Opalka, Nagisa Oshima, Oswald Oberhuber, Claes Oldenburg, Dennis Oppenheim, Jean Otth, Brian O’Doherty, Claudio Olivieri, Anna Oppermann, Hilmar Pabel, Giulio Paolini, A. R. Penck, Pablo Picasso, Lucio Pozzi, Nam June Paik, Eduardo Paolozzi, Peng-Wan-Ts, Otto Piene, Heinz-Günter Prager, Blinky Palermo, Gordon Parks, Beverly Pepper, Walter Pichler, Mario Prassinos, Magnus Palsson, Sergei Paradschanow, Elio Petri, Anne & Patrick Poirier, Panamarenko, Pier Paolo Pasolini, Wolfgang Petrick, Sigmar Polke, Gina Pane, Max Peintner, Friederike Pezold, Don Potts, Isabel Quintanilla, Daniel Quintero, William Raban, John Reilly, Jacob August Riis, Peter Roehr, Ed Ruscha, David Rabinowitch, James Reineking, Bridget Riley, Ulrike Rosenbach, Ken Russell, Arnulf Rainer, Albert Renger-Patzsch, Klaus Rinke, James Rosenquist, Claude Rutault, Yvonne Rainer, Jean Renoir, Larry Rivers, Francesco Rosi, Reiner Ruthenbeck, Robert Rauschenberg, Alain Resnais, Jacques Rivette, Roberto Rossellini, Robert Ryman, Man Ray, Erich Reusch, Józef Robakowski, Dieter Roth, Éric Rohmer, Tony Ray-Jones, Hans Peter Reuter, Dorothea Rockburne, Arthur Rothstein, Martial Raysse, George Warren Rickey, Alexander Rodtschenko, Gerhard Rühm, Reindeer Werk, Hans Salentin, Tomas Schmit, Eugen Schönebeck, Michael Singer, Edward Steichen, Sohrab Shadid Saless, Wolfgang Schmitz, Martin Schwarz (Künstler), Willi Sitte, Saul Steinberg, Erich Salomon, Helmut Schober, Martin Scorsese, Neal Slavin, Frank Stella, Lucas Samaras, Eugen Schönebeck, George Segal, David Smith, Alfred Stieglitz, Fred Sandback, Ben Schonzeit, Antonio Seguí, Robert Smithson, Sir Benjamin Stone, August Sander, Rudolf Schoofs, Friedrich Seidenstücker, Fernando Ezequiel Solanas, Paul Strand, Sarkis Zabunyan, Jan Schoonhoven, Richard Serra, Michael Snow, Jean-Marie Straub, Antonio Saura, Werner Schroeter, Ben Shahn, Alan Sonfist, Liselotte Strelow, Konrad Balder Schäuffelen, Heinz Schubert, Joel Shapiro, Eve Sonneman, Michell Stuart, Georgij Schengalaja, Alf Schuler, Charles Sheeler, Keith Sonnier, Josef Sudek, Alexander Schleber, HA Schult, Stephen Shore, Daniel Spoerri, István Szábo, Barbara Schmidt-Heins, Bernard Schultze, Katharina Sieverding, Klaus Staeck, Gabriele Schmidt-Heins, Emil Schumacher, Charles Simonds, Ted Stamm, Jiro Takamatsu, Andrej Tarkowskij, George Trakas, Peter Tuma, Vassilakis Takis, André Thomkins, François Truffaut, Deborah Turbeville, William Henry Fox Talbot, Jean Tinguely, Costas Tsoclis, Richard Tuttle, Antoni Tàpies, Gérard Titus-Carmel, Werner Tübke, Cy Twombly,Günther Uecker, Lee U Fan, Timm Ulrichs, Ursula Schultze-Bluhm, Giuliano Vangi, Wladimir Veličkovič, Bill Viola, Klaus Vogelsang, Hannsjörg Voth, Agnès Varda, Bernard Venet, Luchino Visconti, Wolf Vostell, Andrzej Wajda, Weegee, Orson Welles, Gottfried Wiegand, Claus Peter Wittig, Willie Walker, William Wegman, Wim Wenders, Klaus Wildenhahn, Krzysztof Wodiczko, Franz Erhard Walther, Peter Weibel, Lina Wertmüller, Dorothee von Windheim, Erwin Wortelkamp, Andy Warhol, Lawrence Weiner, Dsiga Wertow, Gerd Winner, Fritz Wotruba, Ryszard Wasko, Roger Welch, Marthe Wéry, Reindert Wepko van de Wint, Klaus Wyborny, Wolfgang Weber, Peter Weller, Tom Wesselmann, Rainer Wittenborn, Keigo Yamamoto, Yves Yerson, Yoshio Yoshida, Frank Young, Herbert Zangs, Gianfranco Zappettini, Jerry Zeniuk, Heinrich Zille, Krzysztof Zanussi, Michele Zaza, Christian Ziewer, Zush