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Höfer, Candida --- Photography of interiors --- Catalogs

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Architectuur ; bibliotheken ; Nederland --- Fotografen ; openbare plaatsen ; Candida Höfer --- Thema's in de fotografie ; bibliotheken ; boeken --- 766.9 --- Nienhuis, Bert --- Gebouwen voor opleiding en wetenschap ; bibliotheken, archieven, documentatiecentra --- fotografie, overige genres en motieven, o.a. sportfotografie --- Librarians --- Libraries --- architectuurfotografie --- bibliotheken --- fotografie --- Höfer, Candida --- portretfotografie --- (069) --- 727.8 --- 77.092.07 --- Documentation --- Public institutions --- Information scientists --- Library employees --- (Musea. Collecties) --- Fotografen A - Z --- Höfer, Candida,

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Airway Resistance. --- Biofilms --- Larynx, Artificial --- Candida --- Silicones --- Probiotics --- Airway Resistances --- Resistance, Airway --- Resistances, Airway --- Respiratory Mechanics --- growth & development. --- microbiology. --- radiation effects. --- pharmacology. --- Theses --- Airway Resistance --- growth & development --- microbiology --- radiation effects --- pharmacology

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The 'Düsseldorf School' has become a household name in the art world for one of the most successful and influential strains of modern photography. Coined in the late 1980s, the name refers mainly to the pioneer group of students of the late Bernd Becher, who in 1976 became the first professor for creative photography at a German arts academy. His students included Andreas Gursky, Candida Höfer, Axel Hütte, Thomas Ruff, and Thomas Struth, all of them today internationally acclaimed artists in their own right. Whereas 'Düsseldorf School' initially was used as a handy term for a group of artists with the same university's background, it quickly turned into a powerful brand name both in critical and commercial contexts. Despite its welcomed impact on the art scene, the members of the 'School' felt rather ambiguous about their perception as a group which turned them into stars but simultaneously risked levelling individual profiles and differences. What exactly connects and distinguishes them aesthetically is for the first time thoroughly explored in Maren Polte's pioneering study--Back cover.

Photography --- Artistic photography --- Artistieke fotografie --- Fotografie [Kunst] --- Kunstfotografie --- Photographie artistique --- Photography [Artistic ] --- Academic collection --- Photographers --- Photography, Artistic. --- History --- Germany --- Fotografie --- fotografie --- Becher, Bernd und Hilla --- Duitsland --- documentaire fotografie --- Höfer Candida --- twintigste eeuw --- Dusseldorf --- Becher Bernd & Hilla --- Struth Thomas --- Hütte Axel --- Ruff Thomas --- Gursky Andreas --- 77.038 --- photography [process] --- Becher, Bernd, --- Becher, Hilla --- Influence. --- Staatliche Kunstakademie Düsseldorf --- Photography - Germany - Düsseldorf

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From the late 1970s onward, serious art photography began to be made at large scale and for the wall. Michael Fried argues that this immediately compelled photographers to grapple with issues centering on the relationship between the photograph and the viewer standing before it that until then had been the province only of painting. Fried further demonstrates that certain philosophically deep problems - associated with notions of theatricality, literalness, and objecthood - and touching on the role of original intention in artistic production, first discussed in his controversial essay "Art and Objecthood" (1967) - have come to the fore once again in recent photography. This means that the photo-graphic "ghetto" no longer exists; instead photography is at the cutting edge of contemporary art as never before. Among the photographers and video-makers whose work receives serious attention in this powerfully argued book are Jeff Wall, Hiroshi Sugimoto, Cindy Sherman, Thomas Struth, Thomas Ruff, Andreas Gursky, Luc Delahaye, Rineke Dijkstra, Patrick Faigenbaum, Roland Fischer, Thomas Demand, Candida Hofer, Beat Streuli, Philip-Lorca diCorcia, Douglas Gordon and Philippe Parreno, James Welling, and Bernd and Hilla Becher. Future discussions of the new art photography will have no choice but to take a stand for or against Fried's conclusions.

77.01 --- #SBIB:309H120 --- #SBIB:39A5 --- 778.5 --- 778.5 Filmfotografie. Filmkunst --- Filmfotografie. Filmkunst --- 77.01 Fotografie--Semiotiek van de fotografie. Theorie --- Fotografie--Semiotiek van de fotografie. Theorie --- Fotografie: algemene werken --- Kunst, habitat, materiële cultuur en ontspanning --- Fotografie ; videokunst ; 1970-2008 ; theorie --- Fotografie ; theorie, filosofie, esthetica --- Kunst nieuwe technieken ; video, laser, computer, klank, ... --- Photography --- Photography, Artistic. --- Philosophy. --- Photography, Artistic --- Artistic photography --- Photography, Pictorial --- Pictorial photography --- Art --- Philosophy --- Aesthetics --- Becher, Bernd en Hilla --- Delahaye, Luc --- Demand, Thomas --- diCorcia, Philip-Lorca --- Dijkstra, Rineke --- Faigenbaum, Patrick --- Fischer, Roland --- Gordon, Douglas --- Gursky, Andreas --- Höfer, Candida --- Parreno, Philippe --- Ruff, Thomas --- Sherman, Cindy --- Streuli, Beat --- Struth, Thomas --- Sugimoto, Hiroshi --- Wall, Jeff --- Welling, James --- Kunst nieuwe technieken ; video, laser, computer, klank, .. --- 760.4 --- Fisher, Roland --- fotografie --- fotografie als kunst --- kunstfilosofie --- kunstfotografie --- Lorca diCorcia, Philip --- videokunst --- eenentwintigste eeuw --- fotografie en kunst --- fotografietheorie --- kunst --- kunsttheorie --- twintigste eeuw --- Kunst nieuwe technieken ; video, laser, computer, klank, . --- Kunst nieuwe technieken ; video, laser, computer, klank,