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The early 1990s, photography tentatively began to establish itself as a material in art as well as on the art market, but it was still a long way from achieving the status of an independent artistic genre. Today it is among the most diverse original forms that exist in current artistic discourse. Now at the zenith of its ascent, the question arises as to how long photography will continue to be used as an (independent) process in art. Digitization has almost completely replaced analogue techniques. These fundamental technical changes also change how we approach photography as such. In addition to a text by Christina Leber about the history of the DZ BANK art collection on the occasion of its 25th anniversary, this richly illustrated volume illuminates and reassesses the relationship between photography and the other artistic genres in five essays: namely in relation to painting, drawing and sculpture, to the moving image and to conceptual art. It is about time to push open the window and look beyond the purely documentary function of photography as art that persisted in recent years, to refocus on the possibilities of this medium as art

Fotofinish: Siegeszug der Fotografie als Künstlerische Gattung/ Fotofinish: Photography's Triumph as an Autonomous Art Form

DZ Bank Kunstsammlung

What is Minimal? During the 1960s, the art world's interest in systems grew quite conspicuously. It ran parallel to the social upheavals and the fundamentally critical view of the system by the '68 movement. Rather more consequential, from today's point of view, were the technological advances. The development of cybernetics, communication networks and computer systems facilitated extensive networks as well as powerful data processing and turned the exchange of information into an important social and economic factor. The exhibition and this publication consider art of the 1960s and early 1970s with regard to systems thinking, and conceive it as communication and as a critique of the system. It is above all the works of Minimal Art and Conceptual Art that dealt with the principles of linguistic communication systems and thereby with differentiations and repetitions. Further significant features included semiotics, serialism, regularity and the contextualization of the architectural and institutional environment. The works formally used the principles of systems thinking, to then debate them in terms of content. The viewers had to take up position both spatially and intellectually, and thus turned into significant parts of the works. Fifty years later, systems thinking is more existent than ever, and through digitization it has become indispensable in our understanding of industrial societies. Complex systems create networks of knowledge, evaluate data, control information flows and determine decision‑making and production processes. They form our environment in which we mainly strive to achieve system compatibility, availability and scope. The exhibition and publication show representative works of the 1960s and 1970s in combination with contemporary art that examines nowadays systemically important issues around the nature of processes, data processing, information distortion and system compatibility. Digital systems and software are as much tools for these contemporary artists as the principles of systemized thinking. Both influence and control their formal and content‑related decisions while they create new works. They frequently address just this dependency on systems and codes and thus make their mode of operation visible. The book and the exhibition “Always Different, Always the Same” form an open art‑historical reference system and provide a variety of cross‑references between the different works of art and decades. Important topics on the relationship between subject, object, perception and the environment are thus made tangible: always different and yet always the same.

Always Different, Always the Same: An Essay on Art and Systems

Snoeck

This publication accompanies the exhibition “Künstlerbücher. Die Sammlung// Artists' Books: The Collection”, Hamburger Kunsthalle, Galerie der Gegenwart, 1 December 2017 — 2 April 2018.

Künstlerbücher. Die Sammlung// Artists' Books: The Collection

Hamburger Kunsthalle

Artforum International. — 2009. V. 47 no. 10

Артхроника. — 2004, № 6

Johanna Drucker's “The Century of Artists' Books” is the seminal full-length study of the development of artists' books as a twentieth-century art form. By situating artists' books within the context of mainstream developments in the visual arts, Drucker raises critical and theoretical issues as well as providing a historical overview of the medium.

The Century of Artists' Books

Granary Books

This catalogue was published on the occasion to the exhibition. The central theme of this exhibition was the proposition that content — a work of art’s meaning in broad social and cultural contexts — had emerged as a central issue of the preceding 10 years, challenging stylistic innovation as the chief impulse in contemporary art. Represented were 145 artists working in the US and abroad in a range of styles and media, including constructions, paintings, and photographs.

Content: A Contemporary Focus, 1974–1984

Smithsonian Institution Press

(Timur Novikov,Denis Egelsky,Oleg Maslov,Viktor Kusnetsov, Georgy Guryanov, Andrei Khlobystin,Vladislav Mamyshev-Monroe New Academy of Fine Arts

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