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The photographer Ursula Schulz-Dornburg (* 1938 in Berlin) unites the two apparently opposing genres of conceptual and documentary photography in her work. This is the first book to assemble several cycles and series, including some that have not been published previously. This complex artists book in the form of a box containing several different kinds of objects and materials is the product of a long phase of conception, during which the author and editor developed a new kind of monograph. Besides nine notebooks, each containing a cycle, a series of photographs printed on cardboard, a map, and a large individual print on tissue paper, the collection also features an essay about the photographer and three statements by Lawrence Weiner. -- publisher's statement.

Photography, Artistic --- Artists' books --- Schulz-Dornburg, Ursula.

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Sculpture --- Photography --- photography [process] --- sculpting --- Schulz-Dornburg, Ursula --- Bałka, Mirosław

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Throughout her prolific career, Ursula Schulz-Dornburg has led the way in documenting man-made environments on the cusp of change and transition. The sites she visited were often remote and difficult to access. In 1996 and 1997 she traveled to Armenia and with a small portable camera made visual notes of remnants of Soviet architecture during her walks through the capital city of Yerevan. She developed the films on her return to Germany and in 2001 she edited and compiled the prints into a traditional notebook used in Armenian schools which she had bought back from one of her trips. This hand-made sketchbook was then dedicated to her daughter, Julia, who was studying architecture at the time. This publication is a facsimile of the original sketchbook, an artist?s book work embedded with the history of the cultural artefacts long-since disassembled and the actions of the artist in walking through time and space, documenting and compiling the material.

Schulz - Dornburg, Ursula --- fotografie --- documentaire fotografie --- landschapsfotografie --- architectuurfotografie --- Armenië --- Schulz-Dornburg Ursula --- twintigste eeuw --- 77.071 SCHULZ-DORNBURG

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In the wake of the Second World War, aiming to occupy the children rampaging streets and parks, the City of Amsterdam founded Jongensland, a space where boys (and the occasional, officially disallowed girl) could play, build, create, and destroy, largely without supervision. Located on an island accessible only by rowboat, Jongensland grew into a sprawling settlement built experimentally from scrap materials by its young inhabitants. Here, children would cook food, raise animals, build fires, and trade with each other. Without adult intervention, they relied on shared resourcefulness and collaborative ingenuity. In 1969, when the architectural photographer Ursula Schulz-Dornburg moved to Düsseldorf with her two young children, she discovered Jongensland the other side of the border from Germany’s strictly regulated playgrounds. Fas­cinated by the improvised buildings where her children would play, she made extensive photographs capturing them being constructed, used, demolished, and reshaped. Her images capture an intuitive architectural intelligence and capture a genre of vernacular construction with its own conventions and inno­vations, one which illuminates the role of imagination in defining a building’s identity and purpose. This book presents Schulz-Dornburg’s largely unseen series alongside an ex­tended alongside an extended essay by architectural historian Tom Wilkinson reflecting on the architectural themes and lessons Jongensland continues to offer.

fotografie --- documentaire fotografie --- architectuurfotografie --- portretfotografie --- kinderen --- twintigste eeuw --- Nederland --- Schulz-Dornburg, Ursula --- 77.071 SCHULZ-DORNBURG --- Architectuurfotografie ; 20ste eeuw --- Cabines ; hutten ; barakken --- Architectuur ; Nederland ; Amsterdam ; 20ste eeuw ; Jongensland --- Speeltuinen; Nederland; Amsterdam --- Schulz-Dornburg, Ursula °1938 (°Berlijn, Duitsland) --- 711.558 --- 77.092.07 --- Stedenbouw. Ruimtelijke ordening ; recreatieterreinen --- Fotografen A - Z --- Terrains de jeux --- Enfants --- Schulz-Dornburg, Ursula,

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From the seconds after a bomb is detonated to a former scene of battle years after a war has ended, this moving exhibition focuses on the passing of time, tracing a diverse and poignant journey through over 150 years of conflict around the world, since the invention of photography. In an innovative move, the works are ordered according to how long after the event they were created from moments, days and weeks to decades later. Photographs taken seven months after the fire bombing of Dresden are shown alongside those taken seven months after the end of the First Gulf War. Images made in Vietnam 25 years after the fall of Saigon are shown alongside those made in Nakasaki 25 years after the atomic bomb. The result is the chance to make never-before-made connections while viewing the legacy of war as artists and photographers have captured it in retrospect. The immediate trauma of war can be seen in the eyes of Don McCullin's Shell-shocked US Marine 1968, while the destruction of buildings and landscapes are documented by Simon Norfolk's Afghanistan: Chronotopia 2001. Different conflicts will also reappear from multiple points in time throughout the exhibition. The Second World War for example is addressed in Jerzy Lewczynski's 1960 photographs of the Wolf's Lair / Adolf Hitler's War Headquarters, Shomei Tomatsu's images of objects found in Nagasaki, Kikuji Kawada's epic project The Map made in Hiroshima in the 1960s, Michael Schmidt's Berlin streetscapes from 1980 and Nick Waplington's 1993 close-ups of cell walls from a Prisoner of War camp in Wales. The exhibition is staged to coincide with the 2014 centenary and concludes with new and recent projects by British, German, Polish and Syrian photographers which reflect on the First World War a century after it began.--Tate website.

fotografie --- documentaire fotografie --- reportagefotografie --- oorlogsfotografie --- landschapsfotografie --- twintigste eeuw --- eenentwintigste eeuw --- negentiende eeuw --- Delahaye Luc --- Broomberg Adam --- Chanarin Oliver --- McCullin Don --- Fukada Toshio --- Norfolk Simon --- Eiichi Matsumoto --- Andrieu Jules --- Antony-Thouret Pierre --- Fenton Roger --- Ristelhueber Sophie --- Peter Richard --- Matar Diana --- Lhuisset Emeric --- Barnard George N. --- Ractliffe Jo --- Goldberg Jim --- Khelif Kamel --- Friedrich Ernst --- Raad Walid --- Vaux Marc --- Domon Ken --- Lewczynski Jerzy --- Simon Taryn --- Tomatsu Shohei --- Lê An-My --- Shunk-Kender --- Shunk Harry --- Kender Janos --- Kawada Kikuji --- Virilio Paul --- Schulz-Dornburg Ursula --- Meiselas Susan --- Ishiguro Kenji --- Schmidt Michael --- Tsuchida Hiromi --- Waplington Nick --- Rosefeldt Julian --- Penalva Joao --- Wilson Jane --- Wilson Louise --- Serpytytè Indrè --- Araki Nobuyoshi --- Shore Stephen --- Madejska Agata --- Sarkissian Hrair --- Dewe Mathews Chloe --- 766.6 --- reportagefotografie (documentaire fotografie) --- Oorlogsfotografie --- 77.044 --- persfotografie en fotoreportage --- Barnard George N