A new book celebrates the Polaroids taken by this daring “master of light”, who worked as a cinematographer alongside Wim Wenders, Jim Jarmusch, and Steve McQueen. This delicate, printed collection shows Müller’s sensitivity to light, acute aesthetic eye, and his attraction to nature motifs.
This book presents her latest, mostly unpublished works from areas that actually belong to classic genres of photography rather than to conceptual photography: street photography, fashion, nudes and still lifes.
In 1986, the decade was halfway over. In April, the reactor in Chernobyl melted down, the Cold War was coming to an end, Helmut Kohl was chancellor, AIDS was just being perceived as a pandemic threat in Germany, and the affluent society of the Federal Republic of Germany was beginning to view consumption as a leisure activity.
The photographs in Ich denke auch Familienbilder deal on various levels with one of the most basic tasks of photography, which is to capture and record memories. Family pictures are photographs that help us remember and often even create memories. They can be images of our own, which only arise in our heads or through stories and our own imagination.
Museums and archives are institutions designed to preserve the memory of a community. Joan Fontcuberta rummages through their collections to find photographic documents that have deteriorated over time and, paradoxically, “lost their memory.