Aspens Reno

For Art Enthusiasts

25 years of the Berlin picture gallery CAMERA WORK

8 min read
25 years of the Berlin picture gallery CAMERA WORK

The Berlin picture gallery CAMERA WORK is celebrating its twenty fifth anniversary with an exhibition curated by retired deputy chairman and now marketing consultant at Christie’s Philippe Garner, who talks to us about his favorite pictures and the artists who made them

When CAMERA WORK director Ute Hartjen invited images skilled Philippe Garner to curate the Berlin gallery’s twenty fifth anniversary exhibition, the specialist assumed there can be some restrictions on what he may present. ‘Actually, they gave me carte blanche, so I selected pictures that had been a part of my life, in addition to being emblematic of CAMERA WORK’s agenda,’ he says.

Nevertheless, a busy schedule and the lingering limitations of lockdown journey meant the curation was, it’s truthful to say, unorthodox. ‘I used to be despatched scaled-down elevations of the galleries and the photographs of their frames, and I did it the old style manner, with scissors and paste on the sitting room ground,’ he explains. ‘Once I lastly arrived in Berlin, I discovered they’d adopted my directions to the millimetre. I used to be delighted.’

Named after the journal established by Alfred Stieglitz in 1903, CAMERA WORK was arrange in 1997 in an outdated coach home found by Garner’s pal, the photographer Helmut Newton. Through the years it has represented many pioneering photographers, together with Hans Feurer, Irving Penn, Peter Lindbergh and Herb Ritts.

‘My relationship with the gallery goes again to its foundations,’ says Garner, ‘we share a dedication to nice journal images — the sort of images that interprets our goals and beliefs into inspiring and indelible pictures.’

25 years of the Berlin picture gallery CAMERA WORK

Philippe Garner at CAMERA WORK with the gallery’s director, Ute Hartjen. Behind them is an set up of works by Peter Beard for the exhibition 25 Years CAMERA WORK. Picture: © CAMERA WORK Gallery



The exhibition is split into black-and-white pictures on the bottom ground, and color images on the primary ground. ‘I rapidly realised that combining color with black-and-white images was like making an attempt to combine oil and water, so I made a decision to not pressure it,’ says the curator, who used the darker upstairs galleries to carry out the richness of color in pictures by William Eggleston, Feurer and Robert Polidori.

As one of many world’s main authorities on images, Garner has revealed essays on Richard Avedon, Cecil Beaton, Man Bourdin, Newton, Penn and quite a few others, however he nonetheless says he has ‘quite a bit to be taught’ concerning the medium. ‘Pictures is a large area, despite the fact that its historical past is much shorter than that of portray. There are numerous highways and byways — and all are fascinating.’

Beneath, Philippe Garner talks us by a few of his highlights of the exhibition.

PG: ‘This {photograph} was from a canopy shoot for Queen journal in 1969 and I bear in mind shopping for it straight from the newsstand, so you possibly can think about my delight once I found it amongst CAMERA WORK’s archives.

Hans Feurer (b. 1939), Ingmari Johansson, Queen Magazine, London, 1969. Archival pigment print mounted on aluminium. 180 x 120 cm. Edition 13. Photo © Hans Feurer. Courtesy of CAMERA WORK Gallery

Hans Feurer (b. 1939), Ingmari Johansson, Queen Journal, London, 1969. Archival pigment print mounted on aluminium. 180 x 120 cm. Version: 1/3. Picture: © Hans Feurer. Courtesy of CAMERA WORK Gallery



‘My early life have been within the Nineteen Fifties and 60s, a interval of nice editorial images. Hans Feurer started his profession as a graphic artist and artwork director. He had an exquisite graphic eye however his drawback was discovering photographers gifted sufficient to execute what he had in thoughts. In the long run he simply determined to do it himself. His photos are unmistakably Hans Feurer.

‘That is attribute of his Sixties work, the place the graphic design is essential. He’s best-known for utilizing a protracted lens and tender daylight with a really shallow depth of area, permitting his topic to face out sharply towards the melting colors of the background.’

PG: ‘There was a time when color was frowned upon by curators and collectors and branded as business. William Eggleston broke that mindset. He is a superb colourist. His pictures are naturalistic and undramatic however they all the time hit the painterly be aware. He doesn’t essentially hassle to straighten his horizon line, he’ll crop into issues — it’ll all appear random, and but there may be nothing extraneous within the image body.

Installation view of four works by William Eggleston (b. 1939). Clockwise from top left Untitled (Car and Bicycles in Garage, Memphis, TN), 1970; Untitled (White Building Across Parking Lot) from ‘Los Alamos’, 1965-74; Untitled, (Couple in Red Car at Drive-In Restaurant, Memphis, TN), 1965-68; Untitled (Light Bulb on Plywood Ceiling, Greenwood, Mississippi), 1973. Photo © CAMERA

Set up view of 4 works by William Eggleston (b. 1939). Clockwise from high left: Untitled (Automotive and Bicycles in Storage, Memphis, TN), 1970; Untitled (White Constructing Throughout Parking Lot) from ‘Los Alamos’, 1965-74; Untitled, (Couple in Pink Automotive at Drive-In Restaurant, Memphis, TN), 1965-68; Untitled (Gentle Bulb on Plywood Ceiling, Greenwood, Mississippi), 1973. Picture: © CAMERA WORK Gallery



‘In Eugen Herrigel’s 1948 guide of philosophy, Zen within the Artwork of Archery, he says that to succeed in the goal you should turn out to be the bow and turn out to be the arrow, after which the arrow will discover its place. I’ve that sense with Eggleston. He’s on the market within the zone and the query is, does he discover the image or does the image discover him?

‘I’ve met Eggleston on two or three events. Essentially the most memorable was once I sat subsequent to him at a dinner in his honour. He doesn’t do dialog, so I made a decision to not put any stress on him and simply to go along with it. He would throw out half a line and I might reply, and ultimately we obtained into the Eggleston zone. It was a really particular evening and once I obtained again to my lodge room I instantly wrote up each element in order to not neglect it.’

PG: ‘Robert Polidori’s work may be very transferring, it’s concerning the passage of time. He pictures interiors which have been silent witnesses to historical past. His photos are stuffed with a heavy melancholy of lives lived however now gone — the ghosts of the previous. His most well-known pictures are of Havana in Cuba, they usually convey that environment intensely.

Robert Polidori (b. 1951), Cadre Vide, Chateau de Versailles, 1985. Fujicolor Crystal Archive print mounted on aluminium. 127 x 102 cm. Edition 0110. Photo © Robert Polidori. Courtesy of CAMERA WORK Gallery

Robert Polidori (b. 1951), Cadre Vide, Chateau de Versailles, 1985. Fujicolor Crystal Archive print mounted on aluminium. 127 x 102 cm. Version: 01/10. Picture: © Robert Polidori. Courtesy of CAMERA WORK Gallery



‘I see his work as a part of a protracted custom that dates again to the early Nineteenth-century poets and their romance of ruins. This image is from the Palace of Versailles sequence, for which he photographed most of the rooms the general public by no means get to see. I really like locations that resonate with one thing of their previous. I share that with Polidori.’

PG: ‘It is a classical nude picture, with all that that means, photographed at a rare second in historical past: the Berlin Olympics in 1936. Everyone knows the video games have been purported to be an awesome showcase for Hitler and his Fascist regime, and of his fury when the African-American sprinter Jesse Owens received the 100 metres. There may be a lot historical past in that single picture.

Installation view of works by Leni Riefenstahl and Diane Arbus. Clockwise, from top Leni Riefenstahl (1902-2003), Der Diskuswerfer, 1936; Diane Arbus (1923-1971), Lady at a Masked Ball with Two Roses on Her Dress N.Y.C., 1967; Diane Arbus, Mae West in a Chair at Home, Santa Monica, 1965. Photo © CAMERA WORK Gallery

Set up view of works by Leni Riefenstahl and Diane Arbus. Clockwise, from high: Leni Riefenstahl (1902-2003), Der Diskuswerfer, 1936; Diane Arbus (1923-1971), Girl at a Masked Ball with Two Roses on Her Costume N.Y.C., 1967; Diane Arbus, Mae West in a Chair at Residence, Santa Monica, 1965. Picture: © CAMERA WORK Gallery



‘I had the privilege of assembly Leni Riefenstahl at a gallery in Berlin in 2002. She was very slight, like a sparrow, however held my arm with an unbelievable vice-like grip. As we walked across the exhibition we got here to certainly one of her pictures. She stood again and sighed, “Ah! Leni!”, as if she was admiring the genius of another person totally.’

PG: ‘I’ve recognized Bettina Rheims for a few years; she is a bundle of power and dynamism. Gender id is centre stage at this time and Bettina was forward of the curve when she first exhibited these pictures again in 2011. She persistently attracts out the sensuality of her fashions.

Installation view of two works by Bettina Rheims (b. 1952). From left, Edward V. III, Paris, 2011; Andrej P. III, Paris, 2011. Photo © CAMERA WORK Gallery

Set up view of two works by Bettina Rheims (b. 1952). From left, Edward V. III, Paris, 2011; Andrej P. III, Paris, 2011. Picture: © CAMERA WORK Gallery



‘Essentially the most fascinating factor about any photographer is to surprise to what extent they’re coaxing one thing out of their sitter, and to what extent they’re projecting themselves onto the topic. These two portraits are very recognisably Bettina. The writer is correct there within the body.’

PG: ‘Peter Beard had an exhibition at CAMERA WORK in 1998. He was such a loopy, romantic determine. I had an exquisite night speaking to him about his work and his life and realised how fatalistic he was about the way forward for the planet. He noticed we have been heading for catastrophe. His photos will not be crusading photos; he’s merely saying, “You might be f***ing up the planet, and right here’s the proof.” They’re very poignant.

Peter Beard, kneeling forward in the centre of the picture, preparing for his exhibition at CAMERA WORK, 1998. Right, Peter Tunney, Beard’s New York gallerist at the time. Photo © CAMERA WORK Gallery

Peter Beard, kneeling ahead within the centre of the image, making ready for his exhibition at CAMERA WORK, 1998. Proper, Peter Tunney, Beard’s New York gallerist on the time. Picture: © CAMERA WORK Gallery



‘He had a beautiful streak of idiosyncrasy — a spontaneous man who pursued his needs and ambitions with a singular focus. He was not a photographer within the standard sense, or an artist within the standard sense. He had a imaginative and prescient, and located this hybrid manner of creating his mark.’

PG: ‘I’m an enormous Bruce Springsteen fan, and it is a very putting portrait of him. It’s nearly as if he’s taking part in a task in a Herb Ritts movie as a result of there may be a lot of the photographer in it.

Herb Ritts (1952-2002), Bruce Springsteen New York, 1992. Gelatin silver print. 50 x 40 cm. Edition 1125. © Herb Ritts Foundation. Photo © Herb Ritts Foundation  Courtesy of CAMERA WORK Gallery

Herb Ritts (1952-2002), Bruce Springsteen New York, 1992. Gelatin silver print. 50 x 40 cm. Version: 11/25. © Herb Ritts Basis. Picture: © Herb Ritts Basis / Courtesy of CAMERA WORK Gallery



‘Ritts wished to make lovely artefacts and his prints are very seductive. They are typically in barely heat tones and he’s largely related to that very robust Californian mild, however right here Springsteen is photographed towards a darkish backdrop, which creates a unique sort of drama. Ritts is utilizing out there mild, and I like which you could see the curtain. It has a tactile dimension. It reminds you of the artifice of creating a star portrait.’

CAMERA WORK’S anniversary exhibition, 25 Years CAMERA WORK, is on view in Berlin till 1 October 2022

Leave a Reply

Copyright © Aspensreno.com All rights reserved. | Newsphere by AF themes.