A book! A book! A book, with photos in it!

Collection Bernd F. Künne/ Herausgeber, Susanne & Pfleger, Thomas Seelig. (2003) Yet Untitled. Ostfildern: Hatje Cantz.


For Methods I've done a bunch of interior shots of a cottage, and while the amount of stuff in them rules them out as being even comparable to the work that comes out of the Düsseldorf school of photography, I thought I'd look their any how, as a place to find interiors. Anyhow, I didn't end up putting any of the stuff I found into my Methods work book because it was all already here, so I'm putting the extra pictures I found in here as well, enjoy.


Grohest, S. (Ed.). (2009). The Düsseldorf School of Photography. Aperture: New York


Matthias Hoch
 is  a German photographer with a fascination with contemporary architecture. Hoch shoots in 5 X 4.
I like the stark, interesting details and the similarities in tone between them. Each page builds up a kind of profile of the place.

I got some info from here

(The second page is my favourite.)

Simone Nieweg

is a photographer of the Düsseldorf school who focuses her work on suburban fields and allotments in Germany. While I'm not so taken with Nieweg's photographs of vegetable patches, her images of fields really appeal to me. 

The one above (which was actually in the book, while the others are from the MoMA  website) looks really flat and empty, it gives a very different feel to the  two below.

Larch at the Edge of the Field, Willich

1991. Chromogenic color print, 14 x 19 7/16" (35.5 x 49.3 cm)

Gepflugter Acker, Neuss-Kapellen

2001. Chromogenic color print, 14 1/16 x 19 7/16" (35.7 x 49.4 cm).


Jean-Louis Garnell 

I can't find any more photographs by Garnell, which is a shame, because I want to see more!

Jorg Sasse

This essay! There is something really intriguing about Sasse's photographs, possibly because they are details that are rarely the sole focus of images. Actually, Sasse doesn't take most of his images, he uses found photographs and digitally zooms in on these unassuming features.

I recommend reading the first paragraph of the essay, he talks about trying to capture the way humans see, in terms of what catches our eye over something else, but he felt that his photos where too attractive, to photogenic, not subtle enough. Then he says that Sasse's images do what he felt his didn't.

But if you read it from the essay it will be much more eloquent!

Laurenz Berges

Seems to manage to what Sasse does by actually taking the photos himself, however his photographs are about very different things.

This article calls Berges a 'chronicler of absence'. His images are fragments abandoned spaces that hint at larger pictures, larger stories.

Berges' work speaks to a culture's history that, much like these structures that stand vacant, strives to be forgotten. The subtle traces of human experience captured in Berges' photographs address how memory, whether of a personal or cultural nature, is preserved in photographic form.