Concrete Photography: (In-Between) Light Image and Data Image

Jäger, Gottfried

doi:10.1162/LEON_a_01350

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April 01 2018

Concrete Photography: (In-Between) Light Image and Data Image

Gottfried Jäger

Gottfried Jäger (artist, theorist, author, curator). Web: http://www.gottfried-jaeger.de/.

GOTTFRIED JÄGER was born in 1937 in Burg, near Magdeburg, Germany. He trained and worked as commercial photographer and studied photo-engineering in Cologne. In 1960 he became Lecturer in photo technology at Academy of Applied Art (Werkkunstschule) Bielefeld. From 1972 to 2002 he taught photo art and design at University of Applied Sciences (Fachhochschule) Bielefeld. He coined and established the term “generative photography” in 1968 with a group exhibition. He received his PhD in art and music from University of Bielefeld with a thesis on the Bielefeld microphoto artist Carl Strüwe (1898–1988).

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Gottfried Jäger

Gottfried Jäger (artist, theorist, author, curator). Web: http://www.gottfried-jaeger.de/.

GOTTFRIED JÄGER was born in 1937 in Burg, near Magdeburg, Germany. He trained and worked as commercial photographer and studied photo-engineering in Cologne. In 1960 he became Lecturer in photo technology at Academy of Applied Art (Werkkunstschule) Bielefeld. From 1972 to 2002 he taught photo art and design at University of Applied Sciences (Fachhochschule) Bielefeld. He coined and established the term “generative photography” in 1968 with a group exhibition. He received his PhD in art and music from University of Bielefeld with a thesis on the Bielefeld microphoto artist Carl Strüwe (1898–1988).

Received: October 01 2015

Online ISSN: 1530-9282

Print ISSN: 0024-094X

2018

ISAST

Leonardo (2018) 51 (2): 146–154.

https://doi.org/10.1162/LEON_a_01350

Abstract

The author discusses his works of concrete photography contributed to the Peter C. Ruppert Collection, Concrete Art in Europe after 1945, in the Museum im Kulturspeicher Würzburg. He discusses Concrete Photography as a form of nonrepresentational photography in which the medium itself moves away from its classical role of representing the external world to take on a strict self-referential role, in between both traditional light-images and images of the digital world.

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2018

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