The large format reproduction showcases Diane Arbus's pivotal 1971 portfolio, "A box of ten photographs," which played a crucial role in establishing photography as a recognized art form. Highlighted by "Artforum" editor Philip Leider, this collection emphasizes Arbus's unique vision and the profound impact of her work on the art world.
Like many of her colleagues, Inge Morath carried one camera loaded with black-and-white film and another loaded with color. Possibly influenced by the legendary hostility of Henri Cartier-Bresson (her mentor) to color photography, Morath's own ambivalence is reflected in the contradiction between the sheer volume of color film that she exposed during her lifetime and its complete absence from her exhibited and published works. Following Morath's death in 2002, more than 10,000 hitherto unknown and uncataloged color originals were recovered from storage in Paris, where Morath had been based from 1954 until 1962. As this volume demonstrates, Morath's color vision matured around 1958, while documenting the Danube River; by the late 1960s and during the 1970s, when she worked extensively in Russia and China, Morath's color production would at times exceed her work in black and white, and several projects done late in her life were made exclusively in color.
Mensch und Gesellschaft in Zeiten der Pandemie
Bereits jetzt hat die COVID-19 Pandemie tiefe Spuren auf allen Ebenen menschlichen Handelns und Empfindens hinterlassen. Was die bestmögliche Bewältigung der Situation betrifft, liegt es nicht nur an den Regierungen, Expert*innen und Mitarbeiter*innen in Gesundheitssystemen, sondern letztlich an jedem einzelnen, richtig zu handeln. Das Verständnis für die psychologischen Hintergründe und die gesellschaftlichen Zusammenhänge ist dabei von wesentlichem Nutzen. Dieses essential soll im Sinne einer gemeinsamen und gelingenden Bewältigung ebenfalls einen Beitrag dazu leisten.