Publications we loved, and the big news stories from the last month in photobooks, including American Winter by Gerry Johansson, Void’s Hunger project, and JA Mortram’s Small Town Inertia
“Nothing seemed to me more appropriate than to project an image of our time with absolute fidelity to nature by means of photography… Let me speak the truth in all honesty about our age and the people of our age.” These are the words of August Sander, one of the most poignant figures in the history of photography, best-known for his ambitious, lifelong project, where he sought to create a comprehensive photographic work that faithfully represented the physiognomy of German society.
People of the 20th Century, as it was eventually named, is an attempt at a social portrait of the everyday German man and woman living in the 1900s – a period of time which, unbeknownst to the photographer at its inception, would give way to two world wars, the largest migration of people in human history, and ethical, economic and political hysteria.
Just Another Photo Festival is a photography, film, and new media festival based in Kolkata; here its co-founders, photographers Poulomi Basu and CJ Clarke, pick out what caught their eye this year
Publications we loved, and the big news stories from the last month in photobooks – featuring work by Peng Ke, Tom Wood, Paul Reas, Vivian Maier and the post-war PROVOKE group
In 1919, a year after the end of World War One and the start of the Weimar Republic in Germany, $1 was worth 48 Marks. By early 1922, $1 bought 320 Marks; by late 1922, $1 bought 7,400 Marks. By 1923, $1 bought 4,210,500,000,000 Marks. “Lingering at shop windows was a luxury because shopping had to be done immediately,” said the artist George Grosz at the height of this hyperinflation.
“Even an additional minute could mean an increase in price. One had to buy quickly. A rabbit, for example, might cost two million marks more by the time it took you to walk into the store. The packages of money needed to buy the smallest item had long since become too heavy for trouser pockets. I used a knapsack.”
“I never thought of myself as doing anything other than telling stories,” said Erich Lessing. “The camera became the medium through which I did that, but I don’t carry a camera everywhere I go. To me, it is simply the means to a very specific end. I observe the world through my eyes and not through the viewfinder of a camera. I don’t interpret, nor do I adjust anything in the dark room. I am a realistic photographer.”
They’re modest words from a man who created iconic images of the 20th century, and who was a member of Magnum Photos for well over half a century. His photographs of the Hungarian revolution in 1956 were seen around the world, as was his shot of the presentation of the Austrian State Treaty on the balcony of the Belvedere palace in front of a cheering crowd in 1955.
“I was born in 1968 in West Germany – that’s 23 years after 1945,” says Frederike Helwig. “One of my first memories of seeing images of the war was at my grandmother’s house, watching an antiwar movie about 16-year-old German soldiers defending a small village against all odds. I must have been 8 or 10 and I climbed into my brother’s bed that night utterly terrified by what I had seen with no explanation or guidance whatsoever. “This ‘shock’ education continued throughout school, where my generation was taught facts and figures about war crimes and atrocities committed by the Nazi regime. Nobody was able to articulate guilt or shame, or elaborate on the emotional side of what this meant for modern German society. No one ever asked the question why this had happened, let alone gave an answer. Why didn’t the history teachers encourage my generation to ask our grandparents about their experiences in the war? The perpetrators were always the others – names in history books.” Moving to the UK to study photography when she …