In 1975, the exhibition New Topographics–Photographs of a Man-altered Landscape in the George Eastman House in Rochester (USA) provided new impetus for contemporary photography. Using the keyword “topographic”, the curator William Jenkins characterized the objective-neutral, detached approach of the photographers whom he had selected as their overriding style in which the photographers - with an interest in urban architecture - made the increasing dichotomy of “nature” and “culture” in the American suburbs into the subject- matter of their focus.
An environmental or even environmentally critical point of view was not in fact a central theme in the New Topographics Exhibition, although the works of the New Topographicsare very much in the context of the everywhere emerging environmental consciousness of the 1970s.
Today the New Topographics is adjudged to have a greater influence on international art photography after 1975 and the exhibition is often even understood in the sense of a movement. At the same time, or soon afterwards, a blossoming of photographic ways of presentation of culture and landscape can be observed in many western countries which are close to the keyword of “topographic” as being a presumably neutral stocktaking of the landscape.
The exhibition Landschaft. On the New Topographics’ Transnational Impact carries out a comparison of the photographs and in so doing asks about content similarities but also about differences in direction and visual conception. In addition, it presents contemporary environmentally critical representations.
Works by Hans Aarsman, Theo Baart, Christina Capetillo, Carma Casulá, Jennifer Colten, Jean-Louis Garnell, Rachael Jablo, Joachim Schumacher and Bettina Steinacker.
Friday, 30.10.2015, 9 am–6 pm
Symposium: From a „Topographic“ to an „Environmental“ Understanding of Space – Looking into the Past and into the Presence of the New Topographics Movement
Conference venue: Architekturpavillon der TU Braunschweig, Pockelsstraße 4, 38106 Braunschweig
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