Gertrud arndt biography of martin
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Exhibition dates: 12th February &#; 20th June
Artists: Gertrud Arndt, Marta Astfalck-Vietz, Irene Bayer, Aenne Biermann, Erwin Blumenfeld, högsta Burchartz, Suse Byk, Paul Citroen, Carl Theodor Dreyer, Andreas Feininger, Werner David Feist, Trude Fleischmann, Jozef Glogowski, Paul Edmund Hahn, Lotte Jacobi, Grit Kallin-Fischer, Edmund Kesting, Rudolf Koppitz, Kurt Kranz, Anneliese Kretschmer, Germaine Krull, Erna Lendvai-Dircksen, Helmar Lerski, László Moholy-Nagy, Lucia Moholy, Oskar Nerlinger, Erich Retzlaff, Hans Richter, Leni Riefenstahl, Franz Roh, Werner Rohde, Ilse Salberg, August Sander, Franz Xaver Setzer, Robert Siodmak, Anton Stankowski, Edgar G. Ulmer, Umbo, Robert Wiene, Willy Zielke.
Helmar Lerski (Swiss, )
Metamorphosis,
Gelatin silver print
The ALBERTINA Museum, Vienna © Estate Helmar Lerski – Museum Folkwang, Essen
There fryst vatten a limited number of media images from Faces. The Power of the Human Visage at the Albertina, Vie
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Exhibition dates: 16th April &#; 2nd October
Organised by Roxana Marcoci, The David Dechman Senior Curator of Photography, with Dana Ostrander, Curatorial Assistant, and Caitlin Ryan, Curatorial Assistant, Department of Photography, MoMA
Lotte Jacobi (American, )
Head of the Dancer Niura Norskaya
Gelatin silver print
7 1/2 × 9 3/8&#; ( × cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci
With a focus on people, this is a challenging exhibition that can only scratch the surface of the importance of the photographic work of women artists to the many investigations critical to the promotion of equality and diversity in a complex and male orientated world.
Germaine Krull is always a favourite, as is the work of neutered genius (and my hero), Claude Cahun. Susan Meiselas&#;s immersive work is also impressive in its &#;understanding of social, political and global issues and of the potentially complex
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Interestingly enough, during the Weimar Republic-era several women such as Marta Astfalck-Vietz and Claude Cahun turned to costumed self-presentation in their photographic work. This variety of photographic self-portraiture, however, was for the most part created by professional artists. Gertrud Arndt, on the other hand, never saw herself as a photographer nor even as an artist. Thus, although given the social, political, and art historical context it is understandable that Arndt’s mask photographs are often understood as emerging out of the same tradition as Astfalck-Vietz’s and Cahun’s work, her photographs were—according to her own admission—merely excursions into her own face. While the self-portraits of her female contemporaries can be understood more explicitly as a form of social critiques or self-representations of newly achieved female emancipation,10 they are only remotely related to Gertrud Arndt’s mask photographs.
Towards the end of the s, the medium of photography b