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Peter Keetman, Volkswagenwerk 1953

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  • 176 stron
  • 7 godzin czytania

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In 1953, Peter Keetman spent a week at the Volkswagen plant in Wolfsburg. The result was a series of exceptionally clear, almost abstractly detailed photographs that document the entire production process of the VW Beetle. Storage stacks of shiny metal bumpers look like so many Modernist sculptures; car bodies hovering above the assembly line retrospectively form a surreal Pop art montage. This oversize publication reproduces the Volkswagenwerk series in full, in their original size, together with texts that refer both to this series and to Keetman's greater oeuvre. Keetman was known throughout his career as photographer of systemically conceived picture series on themes that included close-ups of water and oil drops, a style of working he developed as a member of Fotoform. Fotoform, a German movement of the 1950s of which Keetman was a primary proponent, was critical in the development of German photography as it is today: the group's "subjective photography" combined scientific objectivity with abstraction.

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Peter Keetman, Volkswagenwerk 1953, Holger Broeker

Język
Rok wydania
2003
Oprawa
(twarda)
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Tytuł
Peter Keetman, Volkswagenwerk 1953
Język
angielski
Wydawca
Kerber
Rok wydania
2003
Oprawa
twarda
Liczba stron
176
ISBN10
3936646287
ISBN13
9783936646283
Seria
Tagi
Ocena
5 z 5
Opis
In 1953, Peter Keetman spent a week at the Volkswagen plant in Wolfsburg. The result was a series of exceptionally clear, almost abstractly detailed photographs that document the entire production process of the VW Beetle. Storage stacks of shiny metal bumpers look like so many Modernist sculptures; car bodies hovering above the assembly line retrospectively form a surreal Pop art montage. This oversize publication reproduces the Volkswagenwerk series in full, in their original size, together with texts that refer both to this series and to Keetman's greater oeuvre. Keetman was known throughout his career as photographer of systemically conceived picture series on themes that included close-ups of water and oil drops, a style of working he developed as a member of Fotoform. Fotoform, a German movement of the 1950s of which Keetman was a primary proponent, was critical in the development of German photography as it is today: the group's "subjective photography" combined scientific objectivity with abstraction.