Ludwig Wittgenstein: Photography as Analytical Practice
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.
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
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.
