Fashion Photography from the F. C. Gundlach Collection
Edited by Gerald A. Matt, F.C. Gundlach, Synne Genzmer. Interview by Gerald A. Matt. Text by Isabelle Azoulay, Synne Genzmer, Fréderick Monneyron.
In capturing and choreographing the ephemeral postures, gestures, facial expressions and clothes that compose our conceptions of beauty, fashion photography documents the evolution of culture itself and mirrors an era’s attitude toward life. Vanity Fair presents some 200 works of fashion photography from the F.C. Gundlach Collection, one of the most comprehensive private photography collections in the German-speaking world. Landmark photographs are set alongside unknown pictures, from the late 1920s through the Second World War up to the present day. Among the photographers included are Richard Avedon, Lillian Bassman, Cecil Beaton, Sibylle Bergemann, Erwin Blumenfeld, Guy Bourdin, Louise Dahl-Wolfe, Ralph Gibson, F.C. Gundlach, Horst P. Horst, George Hoyningen-Huene, William Klein, Nick Knight, David LaChapelle, Edgar Leciejewski, Zoe Leonard, Leon Levinstein, Peter Lindbergh, Gjon Mili, Sarah Moon, Armin Morbach, Irving Penn, Melvin Sokolsky, Deborah Turbeville, Yva, Imre von Santho and Wols.
Featured image, "Lisa Hair" (1939) by Horst P. Horst, is reproduced from Vanity: Fashion Photography from the F.C. Gundlach Collection.
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FROM THE BOOK
GERALD A. MATT: We live in an era which is glutted by images, the volume of which has been massively increased by digitalization. Images are available everywhere, they can be changed and manipulated. What role does the single image still play for you? F.C. GUNDLACH: First and foremost, it’s all about authenticity and nothing but authenticity — that’s the key. There are a very few images that are magic and powerful, and then there are all the millions of others. As regards the relationship between the static and the moving image I am convinced that the static image is here to stay. Some things can simply not be communicated in film images as such things require a certain time for reflection, and in film you the viewer are only given so much time, whereas that is not the case with a still. You can look at a still image for as long as you want, and you can go back to it time and again. That may seem very trivial, but I believe it is very important nonetheless. -Excerpted from Vanity: Fashion Photography from the F.C. Gundlach Collection.
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FORMAT: Pbk, 8.5 x 11.25 in. / 256 pgs / 200 color. LIST PRICE: U.S. $45.00 LIST PRICE: CANADA $60 ISBN: 9783869842707 PUBLISHER: Moderne Kunst Nürnberg AVAILABLE: 4/30/2012 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA LA ASIA AU/NZ AFR ME
Vanity Fashion Photography from the F. C. Gundlach Collection
Published by Moderne Kunst Nürnberg. Edited by Gerald A. Matt, F.C. Gundlach, Synne Genzmer. Interview by Gerald A. Matt. Text by Isabelle Azoulay, Synne Genzmer, Fréderick Monneyron.
In capturing and choreographing the ephemeral postures, gestures, facial expressions and clothes that compose our conceptions of beauty, fashion photography documents the evolution of culture itself and mirrors an era’s attitude toward life. Vanity Fair presents some 200 works of fashion photography from the F.C. Gundlach Collection, one of the most comprehensive private photography collections in the German-speaking world. Landmark photographs are set alongside unknown pictures, from the late 1920s through the Second World War up to the present day. Among the photographers included are Richard Avedon, Lillian Bassman, Cecil Beaton, Sibylle Bergemann, Erwin Blumenfeld, Guy Bourdin, Louise Dahl-Wolfe, Ralph Gibson, F.C. Gundlach, Horst P. Horst, George Hoyningen-Huene, William Klein, Nick Knight, David LaChapelle, Edgar Leciejewski, Zoe Leonard, Leon Levinstein, Peter Lindbergh, Gjon Mili, Sarah Moon, Armin Morbach, Irving Penn, Melvin Sokolsky, Deborah Turbeville, Yva, Imre von Santho and Wols.
