| | BOOK FORMAT
Clth, 9.5 x 12 in. / 400 pgs / 473 color. PUBLISHING STATUS
Pub Date 1/31/2015
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The Museum of Modern Art, 11/18/14-04/26/15 | MoMA's outstanding examples of European avant-garde photography of the 20s and 30s from the Walther collection |
| | | Object:Photo. Modern Photographs: The Thomas Walther Collection 1909-1949Edited with text by Mitra Abbaspour, Lee Ann Daffner, Maria Morris Hambourg. Text by Quentin Bajac, Jim Coddington, Constance McCabe, Matthew Witkovsky, et al.
 OBJECT:PHOTO contains brilliant photographs from the first half of the twentieth century--the most dynamic and radical period in the development of modern photography--but it explores them using a new approach: instead of privileging the content of the images, it shifts the dialogue to the photographic object--the actual, physical thing created by a particular artist using particular techniques at a precise time, surviving into the present with a unique history. This perspective provides new insight into the singular nature of each work and the density of references that each contains while also acknowledging the cultural importance of photography from the interwar period--as well as the rarity of its best examples. Recognition of this importance informed The Museum of Modern Art’s acquisition, in 2001, of the 341 modernist photographs that now constitute the Thomas Walther Collection, each presented in this volume in special 5 color reproductions and accompanied by an unprecedented degree of detailed information, constituting new standards for the field. OBJECT:PHOTO represents the culmination of four years of research by the Museum’s Departments of Photography and Conservation and by more than two dozen visiting scholars, demonstrating in its varied voices their remarkable collaborations with the works and with each other. Essays by historians, curators and conservators consider such topics as the political and cultural pressures shaping the formation of the photographic avant-garde in Europe, the reception of modernist photography at the time and in subsequent revivals of interest in it, the intellectual backgrounds that were then generating new histories of photography, the standards and rationale for material analysis of photographs and the physical qualities of the photographs in the Walther collection as evidence of the development of photographic materials during the period. Thematic object-based case studies demonstrate new multidimensional approaches to the photograph as a cultural and artistic object in its own right.
Mitra Abbaspour is an art historian and curator, formerly Associate Curator in the Department of Photography at the Museum of Modern Art. Lee Ann Daffner is Conservator of Photographs at The Museum of Modern Art. Maria Morris Hambourg is the founding curator of the Department of Photographs at the Metropolitan Museum of Art. Quentin Bajac is The Joel and Anne Ehrenkranz Chief Curator of Photography at The Museum of Modern Art. Jim Coddington has served as The Agnes Gund Chief Conservator at The Museum of Modern Art since 2002. Constance McCabe is Head of the Photograph Conservation Department at The National Gallery of Art. Matthew S. Witovsky is the Richard and Ellen Sandor Chair and Curator, Department of Photography, at The Art Institute of Chicago. "Adiantum pedatum" (1898) by Karl Blossfeldt is reproduced from Object:Photo. Modern Photographs 1909-1949.
PRAISE AND REVIEWSAmerican Photo Stauffer Tema Departing from the conventions of pictorialism, these photographs emphasized sharp focus, straightforward documentation of modern life, and attention to formal qualities through the recognition of the camera as a machanical and techonological tool. These pieces became a focus of a collaboration obetween a group of international photography scholars and MoMA's departments of Photography and Conservation, and four years later their work has culminated in an expansive exhibition presented in the Edward Steichen Photography Galleries. It's accompanied by a hardcover publication, Object Photo: 1909-1949. American Photo The Editors In photography, modern work is a moving target. During the first half of the 20th century, photogra?phers experimented with radical new approaches to representation and abstraction to shape modern?ist imagery. Departing from the conventions of pictorialism, these photographs emphasized sharp focus, straightforward documenta?tion of modern life, and attention to formal qualities through the recognition of the camera as a mechanical and technological tool. In 2001 MoMA acquired more than 300 photographs of this era from the prolific photography collector Thomas Walther, who was born in Berlin and is based in New York City. These pieces became the focus of a collaboration between a group of international photography scholars and MoMA’s departments of Photography and Conservation, and four years later their work has culminated in an expansive exhibition presented in the Edward Steichen Photog?raphy Galleries. It’s accompanied by a hardcover publication, Object Photo: 1909–1949. |
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| | FROM THE BOOKPhotographers in The Thomas Walther Collection 1909-1949Berenice Abbott, American, 1898–1991
Manuel Alvarez Bravo, Mexican, 1902–2002
Gertrud Arndt, German, 1903–2000
Aurel Bauh, French, born Romania. 1900–1964
Herbert Bayer, American, born Austria. 1900–1985
Irene Bayer‑Hecht, American, 1898–1991
Lotte (Charlotte) Beese, German, 1903–1988
Aenne Biermann, German, 1898–1933
Blanc et Demilly, French, active 1924–1962
Georges Blanc, French
Karl Blossfeldt, German, 1865–1932
Jacques‑André Boiffard, French, 1902–1961
Margaret Bourke‑White, American, 1904–1971
Anton Giulio Bragaglia, Italian, 1890–1960
Constantin Brancusi, French, born Romania. 1876–1957
Bill Brandt, British, born Germany. 1904–1983
Marianne Breslauer, German, 1909–2001
Anne W. Brigman, American, born Hawaii. 1869–1950
Gertrude LeRoy Brown, American, c. 1870–1934
Anton Bruehl, American, born Australia. 1900–1982
Francis Bruguičre, American, 1879–1945
Clarence Sinclair Bull, American, 1896–1979
Max Burchartz, German, 1887–1961
Claude Cahun (Lucy Schwob), French, 1894–1954 [with Marcel Moore (Suzanne Malherbe), French, 1892–1972]
Henri Cartier‑Bresson, French, 1908–2004
Paul Citroen, Dutch, born Germany. 1896–1983
Alvin Langdon Coburn, American, 1882–1966
Edmund Collein, German, 1906–1992
Erich Comeriner, German, born Austria. 1907–1978
Marjorie Content, American, 1895–1984
Horacio Coppola, Argentine, 1906–2012
Ralston Crawford, American, born Canada. 1906–1978
Robert Demachy, French, 1859–1936
César Domela‑Nieuwenhuis, Dutch, 1900–1992
Walker Evans, American, 1903–1975
Lore Feininger, German,1901–1991
Lyonel Feininger, American, 1871–1956
Hans Finsler, Swiss, 1891–1972
Semyon Fridlyand, Russian, 1905–1964
Jaromír Funke, Czech, 1896–1945
Karl Grill, Austrian, 1889–1966
John Gutmann, American, born Germany. 1905–1998
Hablik‑Lindemann Workshop, German
Alexander Hackenschmied, Czech, 1907–2004
Johan Hagemeyer, American, born Holland. 1884–1962
Paul Edmund Hahn, German, 1897–1960
Jaroslava Hatláková, Czech, 1904–1989
Raoul Hausmann, Austrian, 1886–1971
John P. Heins, American, 1896–1969
Florence Henri, American, 1893–1982
J. Jay Hirz, American
Irene Hoffmann, German, 1903–1971
Bernard Shea Horne, American, 1867–1933
George Hoyningen‑Huene, American, born Russia. 1900–1968
Lotte Jacobi, American, born Germany. 1896–1990
Peter A. Juley, American, born Germany. 1862–1937
Roman Karmen, Russian, 1906–1978
György Kepes, American, born Hungary. 1906–2001
István Kerny, Hungarian, 1879–1963
André Kertész, American, born Hungary. 1894–1985
Edmund Kesting, German, 1892–1970
Imre Kinszki, Hungarian, 1901–1945
Gustav Klutsis, Latvian, 1895–1938
Fred Korth, American, born Germany. 1902–1983
August Kreyenkamp, German, 1875–1950
Germaine Krull, French, 1897–1985
Harry Lachman, American, 1886–1975
Walter R. Latimer Sr., American, 1880–1924
Jirí Lehovec, Czech, 1909–1995
Helmar Lerski, Swiss, 1871–1956
Otto Lindig, German, 1895–1966
El Lissitzky, Russian, 1890–1941
Herbert List, German, 1903–1972
Heinz Loew, German, 1903–1981
Eli Lotar, French, 1905–1969
George Platt Lynes, American, 1907–1955
Felix H. Man, British, born Germany. 1893–1985
Man Ray, American, 1890–1976
Werner Mantz, German, 1901–1983
Hannes Meyer, Swiss, 1889–1954
Lee Miller, American, 1907–1977
Lisette Model, American, born Austria. 1901–1983
Tina Modotti, Italian, 1896–1942
Lucia Moholy, British, 1894–1989
László Moholy‑Nagy, American, born Hungary. 1895–1946
Jean Moral, French, 1906–1999
Georg Muche, German, 1895–1987
Martin Munkácsi, American, born Hungary. 1896–1963
Adolf Navara, Czech, 1926–1982
Oskar Nerlinger, German, 1893–1969
Johan Niegeman, German, 1902–1977
Jean Painlevé, French, 1902–1989
Gyula Pap, Hungarian, 1899–1983
Paul Parker, American
Roger Parry, French, 1905–1977
József Pécsi, Hungarian, 1889–1956
Max Penson, Russian, 1893–1959
Walter A. Peterhans, American, born Germany. 1897–1960
Robert Petschow, German, 1888–1945
Edward W. Quigley, American, 1898–1977
Albert Renger‑Patzsch, German, 1897–1966
Hans Richter, American, born Germany. 1888–1976
Leni Riefenstahl, German, 1902–2003
Frieda Gertrud Riess, German, 1890–1957
Aleksandr Rodchenko, Russian, 1891–1956
Franz Roh, German, 1890–1965
Werner Rohde, German, 1906–1990
Hajo Rose, German, 1910–1989
Jaroslav Rössler, Czech, 1902–1990
Theodore Roszak, American, born Poland. 1907–1981
Albert Rudomine, French, born Ukraine. 1892–1975
Willi Ruge, German, 1882–1961
Erich Salomon, German, 1886–1944
August Sander, German, 1876–1964
George H. Seeley, American, 1880–1955
Friedrich Seidenstücker, German, 1882–1966
Peter Sekaer, American, born Denmark. 1901–1950
Charles Sheeler, American, 1883–1965
Osamu Shiihara, Japanese, 1905–1974
Arthur Siegel, American, 1913–1978
Edward Steichen, American, born Luxembourg. 1879–1973
Kate Steinitz, American, born Germany. 1889–1975
Alfred Stieglitz, American, 1864–1946
Cami Stone, Belgian, 1892–1975
Sasha Stone, Russian, 1895–1940
Paul Strand, American, 1890–1976
Jindřich Štyrský, Czech, 1899–1942
Maurice Tabard, French, 1897–1984
Franciszka Themerson, British, born Poland. 1907–1988
Stefan Themerson, British, born Poland. 1910–1988
Raoul Ubac, Belgian, 1911–1985
Umbo (Otto Umbehr), German, 1902–1980
Carl Van Vechten, American, 1880–1964
Luigi Veronesi, Italian, 1908–1998
Dziga Vertov, Russian, 1895–1954
Frantisek Vobecký, Czech, 1902–1991
Andreas Walser, Swiss, 1908–1930
Weegee (Arthur Fellig), American, born Austria. 1899–1968
Edward Weston, American, 1886–1958
Stanislaw Ignacy Witkiewicz, Polish, 1885–1939
Wanda Wulz, Italian, 1903–1984
Iwao Yamawaki, Japanese, 1898–1987
Yva (Elsa Simon), German, 1900–1942
Willy Zielke, German, 1902–1989
Georgii Zimin, Russian, 1900–1985 | FROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 12/30/2014 In his Foreword to The Museum of Modern Art's monumental Object:Photo, presenting Modern photographs from the Thomas Walther Collection (1909-1949), MoMA Director Glenn D. Lowry writes, "This book showcases one of the most important acquisitions in the Museum's history, a collection of rare photographs made between the two world wars. The significance of the Walther collection lies not only in the exceptional quality of the photographs but also in their importance: these images lie at the foundation of today's photo-based world, a world of small-camera and journalistic omnipresence, dynamic and flexible graphics, and the dominance of photographic codes and representations of information. For the collection includes outstanding examples of European avant-garde photography of the 20s and 30s, work synonymous with artistic freedom—freedom from the conventions of painting and laborious stand-camera practice, freedom to flip, inert, and recombine images, freedom to concoct new processing and printing techniques and to photograph anything from any point of view. The resulting expansion of the expressive potential of photography was so vast that the aggregate of these explorations was termed the New Vision, and was paralleled by as great an expansion of the medium's reach: through illustrated magazines and newspapers, newsreels and cinema, and several pivotal books, these photographs became ubiquitous vehicles of culture, of information and entertainment, indeed of modernity itself. We today are the direct inheritors of that moment and accomplishment." Featured image, "Anna Oderfeld, Zakopane" (1911-12), is by Stanislaw Ignacy Witkiewicz. continue to blogFROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 1/1/2015 "What today has come to be regarded as among the finest bodies of work in early-twentieth-century photography began as a teaching experiment," Hanako Murata writes in Object:Photo, MoMA's astonishing new collection of Modern photographs from the Thomas Walther Collection. "Karl Blossfeldt, a new lecturer at the institute of the royal arts and crafts museum Berlin, was looking for a way to showcase examples of the forms and patterns he discovered in the natural world that he believed should inspire his students' own work. An excellent sculptor, he first created a large, finely modeled dragonfly's wing, but this was dismissed as trivial by the school's director. Blossfeldt came up with an idea of making greatly enlarged photographs of the insect instead. 'This enlargement then proved to be most useful to me in my studies, and thus I hit upon the use of enlarged photographs of small plant forms to assist as yet unskilled students in their work,' Blossfeldt recalled in 1929. 'It is due to this incident and this photograph that I am now publishing my plant photographs thirty years later.'" Blossfeldt's "Acanthus mollis" (1898–1928) is reproduced from Object:Photo. continue to blogFROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 12/31/2014 In her essay on the emergence and rediscovery of European avant-garde photography in The Museum of Modern Art's essential Object:Photo, presenting Modern photographs from the Thomas Walther Collection (1909-1949), Maria Morris Hambourg writes that the collection "represents not just one man's passionate attempt to recuperate what was lost but a group effort that combined the insights of many collectors, scholars, dealers and experts. While lacunae will always persist, thrilling new discoveries continue to be made, filling in pieces of the mosaic. No soothsayer imagined that an "Anderson collection" existed, that it would surface in 1995, or that it would be correctly identified as a major part of the assemblage of Kurt Kirchbach, the most important privet collector in prewar Germany. Or take the case of El Lissitsky, who died in 1941 in Stalin's Russia and whose revolutionary work in photography had been of very brief duration. As rare as paintings by Vermeer, Lissitzky's original photographs are as coveted by those in this field. Certainly Priska Pasquer in her Cologne gallery never dreamed that a dozen of them, languishing for decades behind the Iron Curtain at an East German publishing house, would miraculously drop into her lap like Danae's shower of gold one fine day in 1966. These and countless other small and large miracles of survival and recovery are salvaging the memory of the European photographic avant-garde. However incomplete, our picture of the past continues to coalesce, and in view of the photographs in this collection and the research inspired by them, the process of rewriting the history is ongoing and vigorous—a cause for gratitude and, certainly, for celebration." El Lissitzky's 1926 "Runner in the City (Experiment for a Fresco for a Sports-Club)" is reproduced from Object:Photo. continue to blog | OF RELATED INTEREST |  | Fundación MapfreISBN: 9788498444988
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