Image Ludwig Windstoßer: experimentalism movement photoforms 
The girl working the cotton factory: Lewis Hine was one of the forerunners of the documentary tradition Two ways to see photo
By the end of September will be open to the public Curitiba two photographic exhibitions: 'subjective photography' A German Contribution 1948 - 1963 (Casa Andrade Muricy, July 31 the September 28, free) and North American photographer (Caixa Cultural Space of 27 July to 26 September, free admission). The first is a large display of images produced by what is spent calling 'subjective photography' (spelled in lowercase even in the typology Bauhaus ) whose greatest teacher was the German Otto Steinert. The second is a collection of 33 images of American photography from the early century including works by Lewis Hine, Paul Strand and several photographers Team Farm Security Administration (FSA - Farm Security Administration). These photographers were the precursors what is usually called 'documentary photography'.
Interestingly, the two displays have content that contrasts in its theoretical and practical concept, but it shows two interesting aspects of photography of the twentieth century.
'subjective photography'
The show exposed the Casa Andrade Muricy is an extensive retrospective of the movement 'subjective photography'. There are over 150 images of exponents of the movement that had its roots in the 'new photography' 20 years of German and Bauhaus of Walter Gropius. These early influences in the exhibition are marked by names like Adolf Lazi, Herbert List, Chargesheimer, Marta Hoepffner and Heinz Hajek-Heinz - called "instigators and partners in the emerging movement." Most of them were banned in Germany with the Nazi regime who called his photographs as "degenerate." Images are marked by symbolism, experimental photography of objects and geometrical compositions prepared. It is evident the presence of destruction of Post-War I and the shadows that fell on Germany during the period: the black is intensely mixed.
All these features are present with much more intensity in the second part show that shows the avant-garde movement photoforms that occurred after World War II, from 1949 to 1958. With a theoretical project well established group of photographers was intended to emphasize individual creation with the resources of photography. Otto Steinert - mentor of the movement that has organized two exhibitions of the group and coined the term 'subjective photography' - considered important to create an image that satisfied look artistically receptive. A 'normal shooting', or rather the 'objective picture' that aims to benefit and representation of reality does not interest him. In the pictures of
photoforms is the use of common resources such as light oscillations, longer times that capture the movement, the presence of the photographer in the picture. The pictures are dark and always treat themes of industrial dry. Loneliness is also applicant: people are almost always solitary. In a simplistic analysis, we can say is that the visible presence of post-war trauma and the need to transform the vision of the Nazi publicity photograph, which praised as family values, morality and superiority.
It is also important to note the experiments inspired by contemporary painting abstract and surreal. Close-up images of objects, double exposures. Many pictures of metal machinery. But none of collages, as was done in 20 years. The objective of photographers photoforms - highlight of which, in addition to Steinert, Ludwig Windstoßer Peter Keetman, Toni Scheneiders and Wolfgang Reisewitz - was to use every possible resource of photographic equipment without resorting to other artistic techniques.
Photos Steinert objects are 'useless' in the ordinary sense of the word. They are like the engravings, paintings. Are conceptual portraits (a dancer sitting on a modern chair is wonderful), moving pictures of trees, plants etc. bleak. Teacher who was taught many disciples Steinert throughout his life, whose work can be seen in the fourth part of the exhibition, where there are several images from photographers around the world influenced by him. The fifth part is a prologue spoken by contemporary trends inspired by the 'subjective photography', whose exponents are Robert Häusser and Stefan Moses.
documentary tradition
Already Culture Box, you can see another type of photography. These are images from the early days of documentary photography in the world. The exhibition is curated by John Kulcsár, who had access to negative U.S. Government to make copies. Silver gelatin, bring visible wear in the expansion of past years
It begins by master Paul Strand and Alfred Stieglitz and Lewis Hine. The three in North America started the tradition of documentary, which aims to show the reality - with aesthetic concerns - and create a document that demonstrates how historiography was given society, experience or people. Are present in the show as icons Terminal Station Horse of Stieglitz and Strand Blind Woman. Moreover, some of the most famous images that Hine made in tackling child labor (which was an active militant) as the boys and girl in the charcoal factory cotton. A photo of the proposal that clashes with enough exposure is captured by a bare Stieglitz à la Man Ray
Shortly thereafter (and failed Curator's not mentioned in the text of the exhibition) are the photos of a group of photographers who in the early worked for the Farm Security Administration portraying the hardships of post-1929 famine, when the New York Stock Exchange broke. Part of the New Deal program Frank Delano Roosevelt, the FSA has created a new aesthetic of documentary photography. Its exponents Dorothea Lange, Walker Evans, Arthur Rothstein, Ben Shahn, Russell Lee, Marion and Gordon Parks showed Wollcott to 'America' the hardships of the camp with its immigrant poor and hungry.
Highlight for Lange and Evans. She with her Migrant Mother (Immigrant Mother), which received special attention of the curator. One of the most famous photographs of all time, shows a mother and three children: a tired face shows the pain of living. The picture is very exciting and played a key role in raising awareness of the American government to take action. Besides the classic picture, there are four series of clicks and a short account of the photographer. Already we can see in Walker Evans urban landscapes of workshops, antique Ford cars and fruit vendors. In his works, the characters are rarer, but is always very strong human presence in the landscape.
Small observations
Without making comparisons, because that would be a nonsense, as are samples of photographs taken at different times in different countries and different social contexts, a trait observation.
Photographs of Photographers Americans come carrying a very large social context. The majority are photographs taken with a clear display of social problems in the hope mitigate them. The aesthetic aspects are great, but it is targeted to the usefulness of the image. The stronger and more beautiful, more draw attention. Already in
'subjective photography' images has the sole purpose of being art. Actually, the picture has no purpose, entering into the discussion of 'uselessness' of art. Aesthetic images are calculated and beautiful. The 'subjective photography' not objective reality (this is clear from its name), she flees from her, and enters the unique universe of the photographer-artist.
The discussion between documentary and conceptual photographers can be infinite. Check the two shows, however, can bring some clarification and experience among silver-gelatin, and learning that all chains have their immense aesthetic, historic, and why not, magical.
obs - this review / research I did for Communication , UFPR laboratory newspaper, where I'm editor of culture
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