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| | | | Ludwig Wittgenstein: Photography as Analytical PracticeEdited with text by Verena Gamper, Hans-Peter Wipplinger. Text by Elisabeth Kamenicek, Michael Nedo, Ulrich Richtmeyer, Gregor Schmoll, Joseph Wang-Kathrein.
The first ever examination of Wittgenstein as collector, author and arranger of photographsMore than any other modernist philosopher, Ludwig Wittgenstein (1889–1951) maintained a notably unusual relationship to photography. From an early age he took a particular liking to the medium and returned to it often, as both a practitioner and a collector. The first volume to appraise his relationship to photography, this book presents his famous and only partially published photo album from the 1930s; photographs of the house for Margarete Stonborough-Wittgenstein that he designed with Paul Engelmann; the composite portrait of the Wittgenstein siblings; excerpts from Wittgenstein’s various photo booth pictures and famously staged self-portraits; excerpts from his “Nonsense Collection”; his serial photographic documentations of places and people; and a selection of his picture-postcard correspondences with family and friends.
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FORMAT: Hbk, 10 x 11 in. / 304 pgs.
LIST PRICE: U.S. $45.00
LIST PRICE: CANADA $61
ISBN: 9783753300498
PUBLISHER: Walther König, Köln
AVAILABLE: 6/7/2022
DISTRIBUTION: D.A.P.
RETAILER DISC: FLAT40
PUBLISHING STATUS: Out of stock indefinitely
AVAILABILITY: Not available
TERRITORY: NA LA ASIA AFR | D.A.P. CATALOG: SPRING 2022 Page 96 | PRESS INQUIRIES
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| Ludwig Wittgenstein: Photography as Analytical Practice Published by Walther König, Köln.
Edited with text by Verena Gamper, Hans-Peter Wipplinger. Text by Elisabeth Kamenicek, Michael Nedo, Ulrich Richtmeyer, Gregor Schmoll, Joseph Wang-Kathrein. The first ever examination of Wittgenstein as collector, author and arranger of photographs More than any other modernist philosopher, Ludwig Wittgenstein (1889–1951) maintained a notably unusual relationship to photography. From an early age he took a particular liking to the medium and returned to it often, as both a practitioner and a collector. The first volume to appraise his relationship to photography, this book presents his famous and only partially published photo album from the 1930s; photographs of the house for Margarete Stonborough-Wittgenstein that he designed with Paul Engelmann; the composite portrait of the Wittgenstein siblings; excerpts from Wittgenstein’s various photo booth pictures and famously staged self-portraits; excerpts from his “Nonsense Collection”; his serial photographic documentations of places and people; and a selection of his picture-postcard correspondences with family and friends.
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