Exhibition dates: 10th March – 5th June, 2017

Featured artists (selection): Ottomar Anschütz | Bill Brandt | Brassaï | Günter Brus | John Coplans | Hugo Erfurth | Trude Fleischmann | Seiichi Furuya | Eikoh Hosoe | Martin Imboden | Dora Kallmus | Rudolf Koppitz | Johann Victor Krämer | Heinrich Kühn | Helmar Lerski | O. Winston Link | Will McBride | Arnulf Rainer | Henry Peach Robinson | Otto Schmidt | Rudolf Schwarzkogler | Franz Xaver Setzer | Anton Josef Trčka | Erwin Wurm

 

 

Anonymous photographer
The Sculptor Hans Gasser and Workshop Assistants at Work
1855-1857
Daguerreotype
Albertina, permanent loan of the Höhere Graphische Bundes-Lehr-und Versuchsanstalt, Vienna

 

 

I made this posting way before my operation, but have been unable to post until now because of my ongoing recuperation.

While the exhibition may have finished, I am so enamoured of the theme of the exhibition, the people and artists, that I think it’s valuable to have the posting, images and the additional research I did online. I especially like the striking work of Helmar Lerski and the “Aktionen” of Rudolf Schwarzkogler which reflect on the hurtfulness of the world, but remind me of the yet to come political art of the first wave of HIV/AIDS. What a beautiful installation as well…

Dr Marcus Bunyan

Many thankx to the Albertina for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

 

Ottomar Anschütz (German, 1846-1907)
Elektrischer Schnellseher
1886

 

 

Anton Josef Trčka (Czech, 1893-1940)
Egon Schiele
1914
Gelatin silver print
Albertina, Vienna

 

Josef Anton Trčka, Antios (7. September 1893 Vienna – 16. March 1940), was a Czech photographer , painter, sculptor, draftsman, designer of tapestries and silver jewellery, collector of folk art Moravian, occasional antiquarian, poet and philosopher. He was a representative of Viennese Modernism, Art Movement, which influenced European culture of the 20th century…

Around 1910 the Trčka decided to study at the professional school of photography Lehr- Graphische und Versuchsanstalt in Vienna, one of the best in Europe. Coincidentally, at the school was Professor Karel Novák, in his time one of the most important personalities of the beginnings of art photography. In 1914 he got the opportunity to portray several leading personalities of Viennese Modernism. Among them was Gustav Klimt, Peter Alternberg and the 50 year old Josef Svatopluk Machar. However, the highlight for Trčka prewar contracts were the photographic series of portraits of Egon Schiele, which focused on facial expressions and hand gestures.

 

 

Franz Xaver Setzer (Austrian, 1886-1939)
Conrad Veidt
1919
Gelatin Silver Print
Albertina, Vienna

 

Franz Xaver Setzer, actually Franz Anton Adolf (6 August 1886 in Vienna – 10 January 1939) was an Austrian photographer.

Hans Walter Conrad Veidt (22 January 1893 – 3 April 1943) was a German actor best remembered for his roles in films such as The Cabinet of Dr. Caligari (1920), The Man Who Laughs (1928), and, after being forced to migrate to Britain by the rise of Nazism in Germany, his English-speaking roles in The Thief of Bagdad (1940), and, in Hollywood, Casablanca (1942). After a successful career in German silent film, where he was one of the best-paid stars of Ufa, he left Germany in 1933 with his new Jewish wife after the Nazis came to power. They settled in Britain, where he participated in a number of films before emigrating to the United States around 1941…

He starred in a few films, such as George Cukor’s A Woman’s Face (1941) where he received billing just under Joan Crawford’s and Nazi Agent (1942), in which he had a dual role as both an aristocratic German Nazi spy and as the man’s twin brother, an anti-Nazi American. His best-known Hollywood role was as the sinister Major Heinrich Strasser in Casablanca (1942), a film which was written and began pre-production before the United States entered the war.

In 1943, at the age of fifty, he died of a massive heart attack while playing golf at the Riviera Country Club in Los Angeles. In 1998, his ashes were placed in a niche of the columbarium at the Golders Green Crematorium in north London.

Text from the Wikipedia website

 

 

Dora Kallmus (Madame d’Ora) (Austrian, 1881-1963), Arthur Benda (German, 1885-1969)
Anita Berber and Sebastian Droste in their dance Märtyrer [Martyrs]
1922
Gelatin silver print
Albertina, Vienna

 

Dora Philippine Kallmus (20 March 1881 – 28 October 1963), also known as Madame D’Ora or Madame d’Ora, was an Austrian fashion and portrait photographer.

In 1907, she established her own studio with Arthur Benda in Vienna called the Atelier d’Ora or Madame D’Ora-Benda. The name was based on the pseudonym “Madame d’Ora”, which she used professionally. D’ora and Benda operated a summer studio from 1921 to 1926 in Karlsbad, Germany, and opened another gallery in Paris in 1925. She was represented by Schostal Photo Agency (Agentur Schostal) and it was her intervention that saved the agency’s owner after his arrest by the Nazis, enabling him to flee to Paris from Vienna.

Her subjects included Josephine Baker, Coco Chanel, Tamara de Lempicka, Alban Berg, Maurice Chevalier, Colette, and other dancers, actors, painters, and writers.

Text from the Wikipedia website

 

Arthur Benda (23 March 1885, in Berlin – 7 September 1969, in Vienna) was a German photographer. From 1907 to 1938 he worked in the photo studio d’Ora in Vienna, from 1921 as a partner of Dora Kallmus and from 1927 under the name d’Ora-Benda as the sole owner. …

In 1906, Arthur Benda met photographer Dora Kallmus, who also trained with Perscheid. When she opened the Atelier d’Ora on Wipplingerstrasse in Vienna in 1907, Benda became her assistant. The Atelier d’Ora specialised in portrait and fashion photography. Kallmus and Benda quickly made a name for themselves and soon supplied the most important magazines. The peak of renown was reached when Madame d’Ora photographed the present nobility in 1916 on the occasion of the coronation of Emperor Charles I as King of Hungary.

In 1921, Arthur Benda became a partner in Atelier d’Ora, which also ran a branch in Karlovy Vary during the season. In 1927 Arthur Benda took over the studio of Dora Kallmus, who had run a second studio in Paris since 1925, and continued it under the name d’Ora-Benda together with his wife Hanny Mittler. In addition to portraits, he mainly photographed nudes that made the new company name known in men’s magazines worldwide. A major order from the King of Albania Zogu I, who had himself and his family photographed in 1937 for three weeks by Arthur Benda in Tirana secured Arthur Benda financially. In 1938 he opened a new studio at the Kärntnerring in Vienna, which he continued to operate under his own name after the Second World War.

Text from the Wikipedia website

 

Anita Berber (10 June 1899 – 10 November 1928) was a German dancer, actress, and writer who was the subject of an Otto Dix painting. She lived during the time of the Weimar Republic. …

Her hair was cut fashionably into a short bob and was frequently bright red, as in 1925 when the German painter Otto Dix painted a portrait of her, titled “The Dancer Anita Berber”. Her dancer friend and sometime lover Sebastian Droste, who performed in the film Algol (1920), was skinny and had black hair with gelled up curls much like sideburns. Neither of them wore much more than low slung loincloths and Anita occasionally a corsage worn well below her small breasts.

Her performances broke boundaries with their androgyny and total nudity, but it was her public appearances that really challenged taboos. Berber’s overt drug addiction and bisexuality were matters of public chatter. In addition to her addiction to cocaine, opium and morphine, one of Berber’s favourites was chloroform and ether mixed in a bowl. This would be stirred with a white rose, the petals of which she would then eat.

Aside from her addiction to narcotic drugs, she was also a heavy alcoholic. In 1928, at the age of 29, she suddenly gave up alcohol completely, but died later the same year. She was said to be surrounded by empty morphine syringes.

Text from the Wikipedia website

 

 

Rudolf Koppitz (Austrian, 1884-1936)
In the Arms of Nature [self-portrait]
1923
Multicolour gum bichromate print
Albertina, permanent loan of the Höhere Graphische Bundes-Lehr-und Versuchsanstalt, Vienna

 

Rudolf Koppitz (4 January 1884 – 8 July 1936), often credited as Viennese or Austrian, was a Photo-Secessionist whose work includes straight photography and modernist images. He was one of the leading representatives of art photography in Vienna between the world wars. Koppitz is best known for his works of the human figure including his iconic Bewegungsstudie, “Motion Study” and his use of the nude in natural settings. …

After the [First World] war, Koppitz returned to the Institute to teach photography where in 1923 he took the nude self-portrait, In the Bosom of Nature [above], in which he framed himself by tree trunks, rocks, snowy mountains, and is posed to convey a dreamlike harmony reminiscent of a symbolist painting and graphic art. In c. 1925 Koppitz created his masterpiece, Bewegungsstudie, “Motion Study” in which he photographed dancers from the Vienna State Opera; the nude dancer, credited to be the Russian Claudia Issatschenko but is more likely, her daughter, ballet dancer and choreographer, Tatyana Issatschenko Gsovsky, with her head thrown dramatically back and flanked by three dark-robed women, lends Bewegungsstudie to the highly decorative and symbolist tradition of the Viennese Jugendstil.

Text from the Wikipedia website

 

 

Rudolf Koppitz (Austrian, 1884-1936)
Bewegungsstudie (Motion Study)
1926
Multicolor gum bichromate print
Albertina, permanent loan of the Höhere Graphische Bundes-Lehr-und Versuchsanstalt, Vienna

 

Rudolf Koppitz (4 January 1884 – 8 July 1936), often credited as Viennese or Austrian, was a Photo-Secessionist whose work includes straight photography and modernist images. He was one of the leading representatives of art photography in Vienna between the world wars. Koppitz is best known for his works of the human figure including his iconic Bewegungsstudie, “Motion Study” and his use of the nude in natural settings….

Koppitz’s work is marked by a pronounced awareness of form, line, and the surface play of light and shadow. Early in his career, Koppitz was known for staging groups of subjects in the style of the Vienna Secession, the most well known example of this being his Bewegungsstudie, “Motion Study”.

Bewegungsstudie (Motion Study) is surely the most widely published and best known image in Austrian photography from the early decades of the last century. This is for good reason, as no photograph better captures the cultural strands that characterized the Austrian avant-garde at that time. Here one can see a graphic strength and compositional clarity that reflects the modernist ambitions initiated in the fine as in the applied arts by the Secession and by the Wiener Werkstätte. But what gives the image its power is the aura of mystery, of symbolist sensuality that resonates through this enigmatic grouping of the three uniformly coiffed and draped figures and the one single naked figure.” ~ Christies

Bewegungsstudie’s languid nude, elaborately robed women and undeniable sensuality, in the context of its rigorous and artistic composition, bring to mind the sexual morbidity of Viennese artists like Gustav Klimt and Alphonse Mucha, as well as the Swiss symbolist painter Ferdinand Hodler and has made it as unforgettable then as it is today. It has become the Koppitz’s signature image, and was also his best-seller. Prints of the image were purchased by, among others, the Toledo Museum of Art; the New York Camera Club notable Joseph Bing, head of that club’s print committee; and the Englishman Stephen Tyng, who published it in a small portfolio of works from his collection.

His earliest works show evidence of influence by Gustav Klimt, Japanese art, Art Nouveau and Constructivism. During the First World War, Koppitz’s photographs took on a documentary quality when his photographs became more simple and direct in their subject matter and composition. Koppitz’s work came of age during the inter-war period when most of Austria’s photographers were supporters of art photography. Photographs from that time are full of symbolic meanings often capturing nude and clothed dancers as well as liberal use of both male and female, many of which were of Koppitz himself and female nudes placed in elements of nature and posed to give the impression of a Greek or Roman statue…

Although he did not possess a consistent style, Koppitz was a virtuoso of the dark room, seemingly determined to make the photograph as much of an art object as possible. His beautifully grainy, subtly tinted images align him with American Pictorialists like Edward Steichen and Clarence Smith. Koppitz’s work, much of it using the gum bichromate process, reflected his links with modern artists such as Gustav Klimt and Egon Schiele, and their involvement with the ‘life reform’ movement including; nudism, sun culture, and expressive dance popular in Central Europe from the early 1900s as well as agrarian romanticism. Koppitz’s extraordinary mastery of pictorial processes – pigment, carbon, gum, and bromoil process of transfer printing – gained the respect of his colleagues throughout the world and garnered mention in the Encyclopædia Britannica of 1929.

Text from the Wikipedia website

 

 

Trude Fleischmann (American born Austria, 1895-1990)
Actress and Dancer Lucy Kieselhausen
c. 1925
Gelatin silver print
Albertina, Vienna

 

Trude Fleischmann (22 December 1895 – 21 January 1990) was an Austrian-born American photographer. After becoming a notable society photographer in Vienna in the 1920s, she re-established her business in New York in 1940. …

In 1920, at the age of 25, Fleischmann opened her own studio close to Vienna’s city hall. Her glass plates benefitted from her careful use of diffuse artificial light. Photographing music and theatre celebrities, her work was published in journals such as Die Bühne, Moderne Welt, ‘Welt und Mode and Uhu. She was represented by Schostal Photo Agency (Agentur Schostal). In addition to portraits of Karl Kraus and Adolf Loos, in 1925 she took a nude series of the dancer Claire Bauroff which the police confiscated when the images were displayed at a Berlin theatre, bringing her international fame. Fleischmann also did much to encourage other women to become professional photographers.

With the Anschluss in 1938, Fleischmann was forced to leave the country. She moved first to Paris, then to London and finally, together with her former student and companion Helen Post, in April 1939 to New York. In 1940, she opened a studio on West 56th Street next to Carnegie Hall which she ran with Frank Elmer who had also emigrated from Vienna. In addition to scenes of New York City, she photographed celebrities and notable immigrants including Albert Einstein, Eleanor Roosevelt, Oskar Kokoschka, Lotte Lehmann, Otto von Habsburg, Count Richard von Coudenhove-Kalergi and Arturo Toscanini. She also worked as a fashion photographer, contributing to magazines such as Vogue. She established a close friendship with the photographer Lisette Model.

Text from the Wikipedia website

 

Lucy Kieselhausen was born in 1897 in Vienna, Austria. She was an actress, known for Tausend und eine Frau. Aus dem Tagebuch eines Junggesellen (1918), Erdgeist (1923) and Die siebente Großmacht (1919). She was a student of Grete Wiesenthal and was celebrated as a successful dancer at the beginning of the 20th century who had great successes on German stages. Besides her dancing activity she also wrote the dance drama “Salambo”, which was set to music by Heinz Tiessen. She died in December 1926 in Berlin, Germany.

“Around 1915 another Viennese, Lucy Kieselhausen (1897-1927), began specializing in performing waltzes. She, too, had evolved out of ballet culture, but her embodiment of the waltz was virtually opposite that of Wiesenthal. She favoured luxuriously decorative hothouse costumes and the utmost refinement of movement. For her the waltz was not a lyrical expansion of space into the freedom of nature but an almost perfumed distillation of the stirrings within an opulent boudoir, with its scenography of exquisite privileges and voluptuous secrets. An adroit sense of irony shaded her movements with a abruptly “bizarre and jerky” rhythms; “her joyfully flashing temperament did not hover on a smooth surface but over a shadowy abyss from which issued her fool’s dance with its slumbering, half-animal rapture.” Her curious appropriation of the waltz ended suddenly when she died in a benzine explosion.”

Karl Eric Toepfer. Empire of Ecstasy: Nudity and Movement in German Body Culture, 1910-1935. University of California Press, 1997, pp. 161-162.

 

 

Hugo Erfurth (German, 1874-1948)
Clotilde von Derp-Sacharoff
c. 1928
Gelatin silver print
Albertina, Vienna – permanent loan of the Austrian Ludwig Foundation for Art and Science

 

Hugo Erfurth (14 October 1874 – 14 February 1948) was a German photographer known for his portraits of celebrities and cultural figures of the early twentieth century. …

During the next ten years [after 1896] he ran the Schröder studio, then established his own studio, art gallery, and home in the Palais Lüttichau. He became a member of the German Werkbund and was appointed an honorary member of the London’s Royal Photographic Society and of Munich’s Süddeutsche Photographen-Verein. He married Helene Reuther in 1898 and fathered three children over the next 6 years. He photographed for the Royal Playhouse in Dresden from 1913-1919.

During this time, Dresden was home to a cultural elite that included Otto Dix, Erich Heckel, Paul Klee, and Oskar Kokoschka. These artists and writers, who considered Erfurth their creative equal, frequented his studio to have their portraits taken. He also photographed opera and dance performers, did work in industrial photography, and experimented with photograms and photomontage.

In 1922, Erfurth opened a gallery under the name “Graphisches Kabinett Hugo Erfurth” with an exhibition of works by Oskar Kokoschka. In 1925, works by Emil Nolde were shown and the exhibition “7 Bauhaus Masters” was organised, with works by Paul Klee and Wassily Kandinsky, among others. The gallery also supported young Dresden artists such as Hans Grundig, Wilhelm Lachnit, and Kurt Schütze.

By the late 1920s, Erfurth had established himself as one of Germany’s leading portraitists and was known for a broad range of work around photography…

Text from the Wikipedia website

 

Clotilde von Derp, stage name of Clotilde Margarete Anna Edle von der Planitz (5 November 1892 – 11 January 1974), was a German expressionist dancer, an early exponent of modern dance. Her career was spent essentially dancing together with her husband Alexander Sakharoff with whom she enjoyed a long-lasting relationship…

Among her admirers were artists such as Rainer Maria Rilke and Yvan Goll. For his Swiss dance presentations, Alexej von Jawlensky gave her make-up resembling his abstract portraits. From 1913, Clotilde appeared with the Russian dancer Alexander Sacharoff with whom she moved to Switzerland during the First World War. Both Sacharoff and Clotilde were known for their transvestite costumes. Clotilde’s femininity was said to be accentuated by the male attire. Her costumes took on an ancient Greek look which she used in Danseuse de Delphes in 1916. Her style was said to be elegant and more modern than that achieved by Isadora Duncan. Their outrageous costumes included wigs made from silver and gold coloured metal, with hats and outfits decorated with flowers and wax fruit.

They married in 1919 and. with the financial support of Edith Rockefeller, appeared at the Metropolitan Opera in New York but without any great success. They lived in Paris until the Second World War. Using the name “Les Sakharoff”. Their 1921 poster by George Barbier to advertise their work was seen as showing a “mutually complementary androgynous couple” “united in dance” joined together in an act of “artistic creation.”

They toured widely visiting China and Japan which was so successful that they returned again in 1934. They and their extravagant costumes visited both North and South America. They found themselves in Spain when France was invaded by Germany. They returned to South America making a new base in Buenos Aires until 1949. They toured Italy the following year and they took up an invitation to teach in Rome by Guido Chigi Saracini. They taught at the Accademia Musicale Chigiana in Siena for Saracini and they also opened their own dance school in Rome. She and Sakharoff stopped dancing together in 1956. They both continued to live in Rome until their deaths. Clotilde gave and sold many of their writings and costumes, that still remained, to museums and auctions. She eventually sold the iconic 1909 painting of her husband by Alexander Jawlensky. In 1997 the German Dance Archive Cologne purchased many remaining items and they have 65 costumes, hundreds of set and costume designs and 500 photographs.

Text from the Wikipedia website

 

 

Martin Imboden (Swiss, 1893-1935)
The Dancer Gertrud Kraus
c. 1929
Gelatin silver print
Albertina, Vienna

 

Martin Imboden (born November 10, 1893 in Stans, Nidwalden; died August 19, 1935 in Zurich ) was a Swiss photographer. …

Born into a Swiss working-class family, Imboden first trained as a cabinetmaker 1909-1912 and worked as a carpenter in Switzerland and in France 1913-1917 then in Basel and Zurich 1918-1929. It was only in 1923 that he began to take photographs.

In 1929 Imboden moved to Vienna, where he began to work as a freelance architectural photographer, at the same time undertaking courses at the Urania (opened in 1910 by Franz Joseph I of Austria as an educational facility with a public observatory and named after the Muse Urania who represents Astronomy) and at the Photosezession which had inspired Steiglitz’s 1902 American version.

Imboden had arrived in the city during the peak of Red Vienna (1918 to 1934) when the Socialist Workers’ Party of German Austria repeatedly won absolute majorities in the elections to parliament and local council. The Socialists undertook extensive multi-storey social housing projects on the back of a fiscal policy that brought bold reforms in the social, health and education policies. He photographed many of these municipal buildings.

At this time he encountered Gertrud Kraus and her New School of Arts which she had opened in 1927 in Vienna. It was a private school for rhythmic gymnastics and artistic dance. In this rare group of images he documents Kraus’s own energetic and expressionist performances.

Interest in modern, or ‘free’, dance was not uncommon, especially in the German area, but also worldwide, in the first half of the 20th century given the popularity of physical culture Körperkultur, the hygiene and care of one’s own body.

Kraus devised training particularly to improve the physical health of women. Through her program many young women, including Jula Isenburger and Mia Slavenska, ventured into and found success in a career in dance and movement. Imboden’s photography pays tribute to their strength of personality and physical presence through this series of portraits.

His approach is clearly experimental, though it is Photo-Secessionist rather than Modernist in spirit. The lighting is appropriately theatrical, intensifying the performative nature of these portraits in which the self-contained concentration of each young woman is paramount. He used bromoil and carbon printing, favourite printing techniques of the Pictorialist photographers, which enable adjustment of lights and intensification of darks through the application of a brush during development, with a painterly quality and warmth, often on hand-laid papers. There is no sense that these women are posing for a male gaze (the gaze of only one meets the lens) and in fact it is hard to find full-length photographs of these individuals by Imboden…

James McArdle. “November 10: Dance,” on the On This Date In Photography website 10/11/2016 [Online] Cited 19/12/2021

 

Gertrud Kraus (Hebrew: גרטרוד קראוס‎; 5 May 1901 – 13 November 1977) was an Israeli pioneer of modern dance in Israel. …

In the 1920s, Gertrud Kraus’s style was known as expressionistic dance, or German dance. In 1929 Gertrud Kraus, together with Gisa Geert, was chief assistant to Rudolf von Laban, director of a trade union parade during the “Vienna Festival” in Vienna.

In 1930, an impresario invited her to perform in Mandate Palestine. Her tour was a great success and she was invited back the following season. In 1933, her company performed her work Die Stadt wartet (“The City Waits”), presenting the modern metropolis as a fascinating but dangerous place. It was based on a short story by Maxim Gorki. On the night that Adolf Hitler was elected chancellor of Germany, Kraus’s company performed this piece on the open-air stage in the Burg-garden next to the Hofburg.

In 1933, while she was in Prague performing for the Zionist Congress, leaders of a Czech communist cell contacted her and tried to recruit her for their purposes. The next day, she went to the Palestine Office in Prague, and applied for immigration. Kraus moved to Tel Aviv in 1935, first living with friends and then renting a basement that became her studio. She formed a modern dance company affiliated with the Tel Aviv Folk Opera, which was probably the only one of its kind in the world. In 1949, she won a scholarship to travel to the United States to learn the newest trends in modern dance.

In 1950-1951, she founded the Israel Ballet Theatre, and became its artistic director. The company folded after a year due to financial difficulties. Until her death in 1977, Kraus devoted herself to teaching dance, as well as painting and sculpture.

Text from the Wikipedia website

 

In the above image at left, Rudolph Koppitz’s Bewegungsstudie (Motion Study) 1926

In the above image at centre, Rudolph Koppitz’s In the Arms of Nature [self-portrait] 1923

In the above image at left and centre, the work of Jan Coplans

In the above image, Erwin Wurm’s One Minute Sculptures at right

 

Installation views of the exhibition Acting for the Camera at the Albertina, Vienna, March – June 2017

 

 

With circa 120 works from the Albertina’s Photographic Collection, the exhibition Acting for the Camera examines the diverse ways in which models are staged or stage themselves before the camera. The featured photographic works, created between the 1850s and the present, represent a cross-section of photographic history as well as the diversity of the Albertina’s own holdings. The present selection is divided between six thematic emphases: motion studies, models for artists, dance, picture stories, portraits of actresses and actors, and Viennese Actionist stagings of the body.

All of these photographs arose from diverse and multi-layered forms of collaboration between the model before and the photographer behind the camera lens. Some of the models are staged according to their photographers’ instructions, while other shots originated via a creative process in which model and photographer collaborated on an equal footing. And in some cases, the pictures were even taken according to highly specific instructions given by the model.

Beginnings

It was photographic studies done in the interest of scientific research that made it possible for the first time to visually analyse the processes of human locomotion in high detail. Anonymous models, such as in the photographs taken by Ottomar Anschütz beginning around 1890, made themselves available in order to render understandable processes such as spear-throwing. The individuals seen in such works act according to the exact instructions of the photographer. Series of this type were used to compare the motion patterns of “healthy” and “unhealthy” bodies as well as undergird medical theories with visual evidence.

While such motion studies occasionally doubled as working studies for artworks by other artists, there was also a category of works created specifically for this purpose such as Johann Victor Krämer’s staged studio photographs as well as Otto Schmidt’s nudes, and some of these were also sold “under the table” as pornography.

Expressive Gestures

A strong and likewise mutually influential relationship arose between photography and dance. At the beginning of the 20th century, modern expressionist dance was an avant-garde art form, and dancers would work together closely with photographers in order to document and disseminate their performances. Such partnerships made possible expressive stagings that helped define the styles of that era. The expressive gestures often seen therein were also taken up by Anton Josef Trčka, who had Egon Schiele pose with a hand position reminiscent of something one might see in dance.

Portraits of well-known actors such as a laughing Romy Schneider, along with role-portraits for film productions, were created in Viennese studios by photographers such as Trude Fleischmann and Madame d’Ora, and these iconic pictures represent yet another emphasis in this presentation.

Bodies as Photographic Material

Much like the way in which classic portraits convey the personalities of those being portrayed, photography can also stage the body in the opposite way, as something purely material. Helmar Lerski, for example, treated the human face as a landscape that could be modelled by light and shadow. John Coplans, on the other hand, explored his own naked body centimetre by centimetre, portraying himself without his head and thus questioning stagings of masculinity and social norms.

In Viennese Actionism, the artists likewise placed themselves front and centre as pictorial subjects. Rudolf Schwarzkogler, who wrapped himself like a mummy in muslin bandages during the late 1960s, as well as his Actionist colleague Günter Brus, staged performances specifically for the photographic camera. And the newest works in Acting for the Camera are as recent as Erwin Wurm’s One Minute Sculptures, for which the artist had models assume ridiculous poses with everyday objects.

Following Black & White (2015) and Landscapes & People (2016), this is the third large-scale presentation of the Albertina’s Photographic Collection. The Albertina, as a treasure trove of visual knowledge, began collecting photographs all the way back in the mid-19th century – but it was only upon the establishment of the Photographic Collection in 1999 that these fascinating works were rediscovered.

Press release from the Albertina

 

 

Helmar Lerski (Swiss, 1871-1956)
Metamorphosis through Light #601 (Metamorphose 601)
1936
Gelatin silver print

 

 

Helmar Lerski (Swiss, 1871-1956)
Metamorphosis through Light #587
1935-36
Gelatin silver print

 

Helmar Lerski: Metamorphosis

… In 1915 Lerski returned to Europe and started a career in cinematography. For over ten years, he worked as a cameraman, lighting technician and expert on special effects for numerous expressionistic silent films in Berlin, among others Fritz Lang’s “Metropolis” (1925/26). At the end of the 1920s, he turned his attention once again to portrait photography and took part in the avant-garde movement that was trying to effect radical changes in the language of the photographic image. At the legendary Werkbund exhibition “Film und Foto” (1929), at which the New Photography made its greatest appearance at first in Stuttgart and subsequently in Zurich, Lerski – who had in the meantime become the best-known portrait photographer of his time – was well represented with 15 photographs.

But Lerski’s pictures were only partly in line with the maxims of the New Photography, and they questioned the validity of pure objectivity. The distinguishing characteristics of his portraits included a theatrical-expressionistic, sometimes dramatic use of lighting inspired by the silent film. Although his close-up photographs captured the essential features of a face – eyes, nose and mouth –, his primary concern was not individual appearance or superficial likeness but the deeper inner potential: he emphasised the changeability, the different faces of an individual. Lerski, who sympathised with the political left wing, thereby infiltrated the photography of types that was practised (and not infrequently misused for racist purposes) by many of Lerski’s contemporaries.

In his book “Köpfe des Alltags” (1931), a milestone in the history of photographic books, Lerski clearly expressed his convictions: he showed portraits of anonymous people from the underclass of the Berlin society, presenting them as theatrical figures so that professional titles such as “chamber maid”, “beggar” or “textile worker” appeared as arbitrarily applied roles. Thus his photographs may be interpreted as an important opposite standpoint to the work of August Sander, who was at the same time working on his project “Menschen des 20. Jahrhunderts” – that large-scale attempt at a social localisation of various representatives of the Weimar society.

But Helmar Lerski’s attitude was at its most radical in his work entitled “Metamorphosis”. This was completed within a few months at the beginning of 1936 in Palestine, to where Lerski and his second wife Anneliese had immigrated in 1932. In “Verwandlungen durch Licht” (this is the second title for this work), Lerski carried his theatrical talent to extremes. With the help of up to 16 mirrors and filters, he directed the natural light of the sun in constant new variations and refractions onto his model, the Bernese-born, at the time out-of-work structural draughtsman and light athlete Leo Uschatz. Thus he achieved, in a series of over 140 close-ups “hundreds of different faces, including that of a hero, a prophet, a peasant, a dying soldier, an old woman and a monk from one single original face” (Siegfried Kracauer). According to Lerski, these pictures were intended to provide proof “that the lens does not have to be objective, that the photographer can, with the help of light, work freely, characterise freely, according to his inner face.” Contrary to the conventional idea of the portrait as an expression of human identity, Lerski used the human face as a projection surface for the figures of his imagination. We are only just becoming aware of the modernity of this provocative series of photographs.

Peter Pfrunder. “Helmar Lerski: Metamorphosis,” on the Fotostiftung Schweiz 2005 [Online] Cited 17/12/2021. No longer available online

 

Wall texts

Motion Studies

Photographs taken in the context of scientific experimental arrangements visualise the different phases of human and animal locomotion sequences. Several cameras are mounted one after another, their shutters release at short intervals while the model is moving. Shortly after Eadweard Muybridge, who makes a name for himself with motion studies of racehorses in 1877, achieves his first successes, the physician Étienne-Jules Marey and the photographers Ottomar Anschütz and Albert Londe also dedicate themselves to capturing movement sequences photographically. Londe works with Jean-Martin Charcot, a neurologist at the Pitié-Salpêtrière psychiatric hospital in Paris. Anonymous models have to perform certain movements defined by the scientists. The photographs are used to compare the movement patterns of “healthy” and”unhealthy” people and to provide visual evidence for medical theories. Artists interested in the anatomically correct representation of movements use the photographs as models.

Models for Artists

Photographs are used as a workaround in the fine arts quite early on; special collections are compiled. Photographs of models in motion, for example, come to replace preparatory drawings after nature. The expanding demand for photographic material creates a new market for professional studios. The Viennese photographer and publisher Otto Schmidt produces body and facial expression studies as well as nudes (so-called academies). Since these photographs, thanks to their erotic pictorial repertoire, enjoy great popularity not only with artists, Schmidt’s circle of customers keeps growing.

The reduction in price and the easier handling of the photographic material increases the number of artists that take up a camera themselves. The painter Johann Victor Krämer has his models pose in front of half-finished paintings to check or complete their posture and gestures. Grids drawn on the photographs sometimes help to transfer subjects to the canvas.

Dance

Germany’s and Austria’s cultural scenes of the early twentieth century see the triumphant progress of modern expressionist dance. Many dancers develop choreographies and movement vocabularies of their own. They visit photographic studios, commissioning presentation and promotion materials. The artists present themselves in the costumes of the performances they currently star in on the stage.

Photographers resort to various possibilities for their dance studies. Hugo Erfurth relies on sequences to convey the flow of movements. The emphasis is on the dancer’s pose in these photographs from the early days of modern dance. Shadows are eliminated by massive retouches, since the pictures were to be reproduced in the book Der Künstlerische Tanz unserer Zeit (The Artistic Dance of Our Time, 1928), published by Langewiesche. Martin Imboden, on the other hand, focuses on the expression of the artistic performance in his static suggestive photographs.

Picture Stories

Restaging paintings and other works of art is a favourite pastime of the upper middle classes and the aristocracy in the nineteenth century. Costumed amateur actors adopting rigid poses for a few moments present the “living pictures” at certain events. The emergence of photography makes it possible to reenact these fleeting performances in the studio and to preserve them for the long term. The theatrical group photos are sold as editions on the art market or used as models to emulate.

Henry Peach Robinson is one of those who devote themselves to staging photographs in a way that lean on the tradition of tableaux vivants. Brassaï’s and Bill Brandt’s photo reportages, which seem to document nocturnal scenes the photographers chanced upon, are actually staged for the occasion. Brandt, for example, has members of his family embody precisely conceived parts in his mysteriously toned series A Night in London. The American O. Winston Link, who shows a penchant for steam engines, plans his pictures in every detail. Relying on an elaborate flash technique and the use of spotlights, his photographs, taken in the open and by night, exhibit a filmic aesthetic.

Portraits of Actresses and Actors

In Vienna, Madame d’Ora, Franz Xaver Setzer, and Trude Fleischmann specialise in portraits of performing artists from the 1910s to the 1930s. They not only catered to the public’s great demand; focusing on the cultural scene’s clientele also ties in with the personal interest of the studios’ owners. The models collaborate with the photographers to realise the desired notions regarding their appearance and the interpretation of their look. Stars from the theatre world choose the costume, make-up, and pose they prefer for their photographic portraits. Some of the character portraits and scenic representations show sweepingly theatrical gestures. Film actresses and actors are only rarely captured in traditional character portraits in the early days of the medium. Setzer’s portrait of Conrad Veidt, who stars in The Cabinet of Dr. Caligari in 1919, is an exception. The lighting and styling as well as his facial expression and the expressive gesture of his hand mirror the film’s Expressionism.

Actionist Stagings of the Body

The Actionist art gaining momentum from the 1960s on shows itself inseparably bound up with photography. Next to film, photography is the only way to provide live documentations of performances. Some actions are specifically staged for the photo camera. From about the mid-1960s on, the Viennese Actionist artists Günter Brus and Rudolf Schwarzkogler realise constellations of bodies and objects for photographs that are intended as visual works of art.

Arnulf Rainer, whose grimaces, like the Vienna Actionists’s works, are aimed at criticising the socially standardised body, also poses for a photographer. The photographer was not supposed to pursue an artistic approach of his own but to neutrally capture the given representations of the body. After the pictures were taken, Rainer defines the final image area and overpaints the photos by relying on gestural techniques that emphasise physical and emotional moments of expression.

John Coplans combines observations on the representation of the body with reflections on the nature of media. Using a straightforward and precise exposure technique and keen on obtaining sharp pictures, he confronts the viewer with defamiliarised views of his body transforming it into sculptural fragments. The humorous and absurd poses in which models present themselves for Erwin Wurm’s One Minute Sculptures with the help of everyday objects are often based on drawn studies and are captured in factual photographs lending the ephemeral performances durability.

 

 

Will McBride (American, 1931-2015)
Romy Schneider in Paris
1964, printed 2001
Gelatin Silver Print
Albertina, Vienna
© Will McBride Estate/Berlin

 

 

Rudolf Schwarzkogler (Austrian, 1940-1969)
2nd Action
1965
Gelatin Silver Print

 

 

Rudolf Schwarzkogler (Austrian, 1940-1969)
3rd Action
1965
Gelatin Silver Print

 

 

Rudolf Schwarzkogler (Austrian, 1940-1969)
4th Action
1965
Gelatin Silver Print

 

Rudolf Schwarzkogler (13 November 1940, Vienna – 20 June 1969, Vienna) was an Austrian performance artist closely associated with the Viennese Actionism group that included artists Günter Brus, Otto Mühl, and Hermann Nitsch.

He is best known today for photographs depicting his series of closely controlled “Aktionen” featuring such iconography as a dead fish, a dead chicken, bare light bulbs, coloured liquids, bound objects, and a man wrapped in gauze. The enduring themes of Schwarzkogler’s works involved experience of pain and mutilation, often in an incongruous clinical context, such as 3rd Aktion (1965) in which a patient’s head swathed in bandages is being pierced by what appears to be a corkscrew, producing a bloodstain under the bandages. They reflect a message of despair at the disappointments and hurtfulness of the world.

Schwarzkogler devoted himself entirely to free art from 1965 and quit his job. He started out with horse betting and was interested in winning systems. In 1968 he took part in film projects. In 1969, he died after falling from the window of his apartment. He was buried at the Vienna Central Cemetery.

Text from the Wikipedia website

 

 

Seiichi Furuya (Japanese, b. 1950)
Christine Furuya Gössler
1983; printed 1988
Gelatin silver print
Albertina, Vienna

 

Seiichi Furuya (古屋 誠一, Furuya Seiichi, born 1950) in Izu, Shizuoka is a Japanese photographer.

As a student Furuya studied architecture and then spent two years at Tokyo College of Photography. In 1973 he left his studies and his native Japan and traveled, ending up, according to Arthur Ollman in his book, The Model Wife, “a man in exile. He wears alienation like an obligation.” In Austria where he lived since 1982 he met and married Christine Gössler. From 1984 to 1987 he lived in East Berlin and worked as translator. Christine was to become the primary subject of his photography until her suicide in 1985. His last pictures of her are of her shoes, neatly placed by the window she had just jumped out of, and her body, shot from the same window, on the ground, nine stories below.

Text from the Wikipedia website

 

“The other person is absent as a point of reference but present as an addressee. This strangely warped situation causes an unbearable presence: You are gone (which I lament); you are here (because I am turning to you).”

~ Roland Barthes, A Lover’s Discourse

“If you consider the taking of photographs to be in a sense a matter of fixing time and space, then this work – the documenting of the life of one human being – is exceptionally thrilling… in facing her, in photographing her, and looking at her in photographs, I also see and discover “myself.””

~ Seiichi Furuya, 1979

Seiichi Furuya and Christine Gössler would soon marry, and they would later have a child, Komyo. Throughout their seven years together, Christine would plunge in and out of depressions and psychiatric institutions. And one Sunday in October of 1985, she would jump to her death from the 9th floor of their apartment building in East Berlin. Furuya photographed her throughout, to the very end. And this faithful and macabre portrait making would become his artistic and philosophical project.

Stacey Platt. “The Art of Losing Love, pt.2: Seiichi Furuya and Christine Gössler,” on the space in between website October 28, 2004 [Online] Cited 17/12/2021. No longer available online

 

 

Erwin Wurm (Austrian, b. 1954)
One Minute Sculpture
1997
Silver dye bleach print
Albertina, Vienna

 

Erwin Wurm (born 1954) is an Austrian artist born in Bruck an der Mur, Styria, Austria. He lives and works in Vienna and Limberg, Austria. …

Since the late 1980s, he has developed an ongoing series of One Minute Sculptures, in which he poses himself or his models in unexpected relationships with everyday objects close at hand, prompting the viewer to question the very definition of sculpture. He seeks to use the “shortest path” in creating a sculpture – a clear and fast, sometimes humorous, form of expression. As the sculptures are fleeting and meant to be spontaneous and temporary, the images are only captured in photos or on film.

To make a One Minute Sculpture, the viewer has to part with his habits. Wurm’s instructions for his audience are written by hand in a cartoon-like style. Either Wurm himself or a volunteer follow the instructions for the sculpture, which is meant to put the body in an absurd and ridiculous-looking relationship with everyday objects. Whoever chooses to do one of Wurm’s One Minute Sculptures holds the pose for a minute, or the time it takes to capture the scene photographically. These positions are often difficult to hold; although a minute is very short, a minute for a One Minute Sculpture can feel like an eternity.

Text from the Wikipedia website

 

 

Erwin Wurm (Austrian, b. 1954)
One Minute Sculpture
1997
Silver dye bleach print
Albertina, Vienna

 

 

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