Herbert Molderings

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Herbert Molderings (born August 30, 1948 in Witterschlick near Bonn) is a German art historian and professor emeritus for Middle and Modern Art History at the Ruhr University in Bochum .

Live and act

Molderings studied art history, philosophy, archeology and German studies at the Rheinische Friedrich-Wilhelms-Universität Bonn from 1967 to 1969 and art history , philosophy and sociology at the Ruhr University Bochum from 1969 to 1973 . There he received his doctorate in 1973 with a study of the work of Marcel Duchamp by Max Imdahl in the subject of art history.

1974-75 he received a research grant from the state of North Rhine-Westphalia at the Central Institute for Art History in Munich. From 1975 to 1978 he was director of the Westphalian Art Association in Münster, where he organized exhibitions on modern photography (August Sander, Florence Henri) and contemporary art (François Morellet, Rainer Wittenborn, Nikolaus Lang, Charles Simonds, Sarkis, Jochen Gerz and others) . In 1978 he curated the “Photography” section in the “Paris-Berlin. 1900-1933. Matches and Contrasts France-Germany ”in the Musée National d'art moderne, Center Pompidou. At the turn of 1978/79 he moved to Paris and began to work as a freelance academic writer and curator. Since 1982 he has lived in Cologne and Paris.

1983–84 he took over the chair for art history from Martin Warnke at the art history seminar of the University of Hamburg, 1989–90 he took over the chair for the subject art history from Max Imdahl at the art history institute of the Ruhr University Bochum. 1984–85 he was visiting professor at the Art History Department of the University of Hamburg, 1996 at the University of Kassel , 2000/2001 at the Hermann von Helmholtz Center for Cultural Technology at the Humboldt University in Berlin . In 1995 he was admitted to the Faculty of History of the Ruhr University Bochum with the study “Umbo. From Bauhaus to Photo Journalism ”qualified as a professor.

From 2004 to 2013 Molderings taught as an adjunct professor for Middle and Modern Art History at the Ruhr University in Bochum. In 2005-06 he designed and directed the research year “Photography - Image or Image? Critical positions on the positivist concept of photography in the history of German and French photography ”at the German Forum for Art History in Paris.

From 1995 to 1997, Molderings organized the Umbo retrospective in seven German and foreign museums . From the Bauhaus to photo journalism of this classic modernist photographer.

In a series of articles in the Frankfurter Allgemeine Zeitung and in Le Monde, Molderings demonstrated from 1997-98 that the origin of the collection of international avant-garde photographs from the 1920s auctioned on May 2, 1997 at Sotheby's in London under the name "Helene Anderson Collection" and 1930s was fake. The collection actually belonged to the Dresden industrialist Kurt Kirchbach.

The main research areas of Molderings are the art of classical modernism and the present, the history and theory of photography, the art of Dadaism and surrealism, the works of Marcel Duchamp , Man Ray , Umbo and László Moholy-Nagy as well as the Kurt International Photo Collection Kirchbach.

Herbert Molderings is married and has two grown sons.

Awards and memberships

  • 1973: Award from the Chancellor of the Ruhr University Bochum for the dissertation “Marcel Duchamp. Problem and reception "
  • 1998: Kraszna-Krausz Photography Book Award for the monograph “UMBO. Otto Umbehr 1902-1980 "
  • 2002/2003: Fellow at the Wissenschaftskolleg zu Berlin
  • 2010/2011: Fellow of the Gutenberg Research College of Johannes Gutenberg University Mainz in the research focus "Historical Cultural Studies"
  • 2014: Justus Bier Prize for curators for the exhibition and the catalog “Lens Based Sculpture. The change in sculpture through photography "(together with Bogomir Ecker, Raimund Kummer, Friedemann Malsch)

Publications

Monographs (selection)

  • Marcel Duchamp. Parascience, the ephemeral and skepticism , Qumran, Frankfurt am Main, Paris 1983, ISBN 3-88655-178-4 Campus, Frankfurt am Main, 1987, ISBN 3-88655-178-4 ; Richter, Düsseldorf, 1997, ISBN 3-928762-63-X .
  • Umbo: Otto Umbehr 1902–1980 , Richter, Düsseldorf 1996, ISBN 3-928762-43-5 .
  • Umbo. [Trans. André Gunthert], Center National de la Photographie, Paris 1996, ISBN 2-86754-101-8 .
  • László Moholy-Nagy. [Trans. Patrick Kermann], Nathan, Paris 1998, ISBN 209-754 128-3 .
  • Gerhard Merz. An artist of agnosticism , Kunstverein Hannover, Hannover 2000, ISBN 3-926820-71-3 .
  • Art as an experiment: Marcel Duchamp's “3 normal plastic pots” , Deutscher Kunstverlag, Munich, Berlin 2006, ISBN 3-422-06528-8 .
  • L'Art comme experience. Les "3 Stoppages étalon" by Marcel Duchamp , [trans. Anne-Marie Geyer], Maison des sciences de l'homme, German Forum for Art History, Paris, 2007, ISBN 978-2-7351-1148-0 .
  • The modern age of photography , Philo Fine Arts, Hamburg 2008, ISBN 978-3-86572-635-3 .
  • Atelier Man Ray , König, Cologne 2009, ISBN 978-3-86560-613-6 .
  • L'évidence du possible. Photography Moderne et surréalisme , [trans. Jean Torrent, Yves Kobry, Patrick Kermann], Textuel, German Forum for Art History, Paris 2009, ISBN 978-2-84597-347-3 .
  • Duchamp and the Aesthetics of Chance. Art as Experiment , John Brogden], Columbia University Press, New York 2010, ISBN 978-0-231-14762-0 .
  • The naked truth: On the late work of Marcel Duchamp , Hanser, Munich 2012, ISBN 978-3-446-23872-5 .
  • Marcel Duchamp at the age of 85. An incunable of conceptual photography , König, Cologne 2013, ISBN 978-3-86335-304-9 .
  • Marcel Duchamp at the Age of 85. An Incunabulum of Conceptual Photography , [trans. John Brogden], König, Cologne 2013, ISBN 978-3-86335-332-2 .
  • Duchamp traversé. Essais 1975–2012 , [trans. Jean Torrent], MAMCO, Geneva and German Forum for Art History, Paris 2014, ISBN 978-2-94015-960-4 .
  • About Marcel Duchamp and the aesthetics of the possible , Walther König, Cologne 2019

As co-editor

  • Contributions to the history and aesthetics of photography , Anabas, Gießen 1977, ISBN 3-87038-044-6 (together with Ulrich Keller and Winfried Ranke).
  • L'évidence photographique. La conception positiviste de la photographie en question , German Forum for Art History, Maison des sciences de l'homme, Paris 2009, ISBN 978-2-7351-1223-4 (together with Gregor Wedekind).
  • Lens Based Sculpture. The change in sculpture through photography , König, Cologne 2014, ISBN 978-3-86335-491-6 (together with Bogomir Ecker, Raimund Kummer, Friedemann Malsch).

Articles (selection)

  • Film, photography and their influence on painting in Paris around 1910. Marcel Duchamp - Jacques Villon - Frank Kupka. In: Wallraf-Richartz-Jahrbuch, Cologne 1975, pp. 247–286.
  • Mirrors, Masks and Spaces. Self-Portraits by Women Photographers in the Twenties and Thirties (together with Barbara Mülhens-Molderings). In: La dona. metamorfosi de la modernitat. Catalog. Fundació Joan Miró, Barcelona 2004, pp. 29-65 u. Pp. 320-325. http://lemagazine.jeudepaume.org/2011/06/molderings
  • Photographic History in the Spirit of Constructivism Reflections on Walter Benjamin's 'Little History of Photography'. In: Art in Translation, September 3, 2014, pp. 317-344. http://www.tandfonline.com/doi/abs/10.2752/175613114X14043084853074
  • Umbo's aesthetic. In: History of Photography , 2, Autumn 2005, pp. 240-255. https://www.researchgate.net/publication/273294358_Umbo%27s_aesthetic
  • It is not the objects that count, but the experiments. Marcel Duchamp's New York studio as a perception laboratory / It is not the Objects that Count, but the Experiments. Marcel Duchamp's New York Studio as a Laboratory of Perception. In: Re-Object. Marcel Duchamp Damien Hirst Jeff Koons Gerhard Merz. Catalog. Kunsthaus Bregenz 2007, pp. 35–51 and Pp. 146-154.
  • The modernist cause. In: Q. Bajac, C. Chéroux (ed.): Collection Photographs: A History of Photography through the Collections of the Center Pompidou, Musée National d'Art Moderne , Göttingen: Steidl, 2007, pp. 97–113.
  • A school of modern photo reporting. The agency Dephot (German Photo Service) 1928-1933. In: Photo History , 107, 2008, pp. 4–21
  • Light Years of a Life: The Photogram in the Aesthetic of László Moholy-Nagy. In: R. Heyne, FM Neusüss, H. Moholy-Nagy (eds.): Moholy-Nagy The Photograms. Catalog raisonné , Ostfildern 2009, pp. 15–25.
  • The discovery of spiritual vision. Marcel Duchamp in Munich 1912 / The Discovery of the Mind's Eye. Marcel Duchamp in Munich 1912. In: H. Friedel et al. (Ed.): Marcel Duchamp in Munich 1912 / Marcel Duchamp in Munich 1912, Munich 2012 , pp. 11–36.
  • Brushed against the grain. Man Ray and Surrealism Photography. In: Man Ray photographer in the Paris of the surrealists . Catalog. Brühl: Max Ernst Museum des LVR, 2013, pp. 28–45.
  • The contribution of Photography to Sculptural Experimentalization. In: B. Ecker, R. Kummer, F. Malsch, H. Molderings (eds.): Lens-based sculpture. The Transformation of Sculpture Through Photography . Catalog. Berlin: Akademie der Künste, Vaduz: Kunstmuseum Liechtenstein, Cologne: Walther König, 2013, pp. 26–55.

Web links

Individual evidence

  1. ↑ FAZ: The search continues. In: FAZ.net . June 9, 2008, accessed October 13, 2018 .
  2. ↑ Herbert Molderings: Neither a storage find nor the "Helene Anderson Collection". In: FAZ.net . October 27, 2005, accessed October 13, 2018 .
personal data
SURNAME Molderings, Herbert
BRIEF DESCRIPTION German art historian
DATE OF BIRTH August 30, 1948
PLACE OF BIRTH Bonn