New Topographic Movement
The New Topographic Movement is a contemporary style of photography that originated in the United States during the 1970s .
The name derives from the 1975 exhibition at George Eastman House in Rochester , New York entitled “New Topographics: Photographs of a Man-Altered Landscape”. In this show, curator William Jenkins presented works by Robert Adams , Lewis Baltz , Bernd and Hilla Becher , Joe Deal , Frank Gohlke , Stephen Shore and Henry Wessel .
This American movement is generally understood as the beginning of a new photographic view of the landscape and a radical change in American landscape photography. Until then, photographers such as Ansel Adams or Edward Weston in particular determined the ideal of modern American landscape photography , guided by the view of the landscape and nature, largely untouched by humans.
The American photographers introduced by Jenkins in 1975 instead turned to places and landscapes or sections of landscape marked by human intervention (often on the outskirts of cities). Not the ideal idea of landscape, but the documentary view of the environment shaped (also: “spoiled”) by trade, transport and the exploitation of nature became the subject of a new photography critical of civilization. The approach taken by photographers in this genre is often conceptual . (The work of Bernd and Hilla Becher , also subsumed under the heading of new topographical photography in 1975, is, on the other hand, characterized by the fact that it documents evidence of industrial development that were largely victims of modernization processes in a unique way).
The impetus emanating from the photographers of the “New Topographic Movement” has had an impact on the practice of many generations of photographers to this day. Joachim Brohm , Hans-Christian Schink , Michael Schmidt , Hildegard Ochse and Heinrich Riebesehl , among others, can be seen as German representatives of this direction with parts of their work .
Individual evidence
- ^ "History of an Exhibition", TAZ. The daily newspaper
- ↑ Christoph Schaden: Work on the Myth . Ed .: Denis Brudna. 2/17 Volume 29th Photonews-Verlag, Hamburg February 2017, p. 6-7 .
- ↑ http://www.fotofeinkost.de/warum-heinrich-riebesehl-mehr-anendung-verdient-hatte/