In his most recent work, carried out in his home terrain of Mühlviertel in Upper Austria, photographer Bernhard Fuchs (born 1971) captures details of stones, water, trees and sky, on long walks taken regularly between 2014 and 2019.
Published by Koenig Books. Text by Gottfried Boehm.
Fathom is the second portrait series by Austrian photographer Bernhard Fuchs (born 1971). Reproduced on full-page plates, these 39 portraits present figures in interior spaces and illustrate the peculiar unspoken dialogue between the photographer and his sitter.
Published by Walther König, Köln. Text by Bernhard Fuchs.
Woodlands gathers a series of 50 landscape photographs by Austrian photographer Bernhard Fuchs (born 1971), whose previous acclaimed publications Roads and Paths (2010) and Farms (2012) are long out of print and coveted among photobook collectors.
Bernhard Fuchs’ latest artist’s book presents photographs of farms near his childhood home in the north of Austria. In the course of recent walks in the area around Helfenberg, Fuchs was confronted with the massive transformations in its farming communities over the past few decades. Remotely located in the hilly landscape of the Mühlviertel, these farms are mainly mixed-farming operations, determined by the areas’s arable fields, woodland and grassland for the grazing of livestock. Today, most of these farms are run as secondary sources of income and are passed down from generation to generation. But as a result of recent developments in agriculture and the rising costs of upkeep--as well as the inevitable neglect as subsequent generations abandon agriculture--many farms have been abandoned. Fuchs portrays these rural ruins and those farms that survive with both clarity and empathy.
Published by Walther König, Köln. Essay by Heinz Liesbrock.
Pursuing the Bernd and Hilla Becher tradition of photo-typologies—he was a student of the Bechers—Bernard Fuchs follows his Autos monograph with this catalogue of roads and.paths. These routes all lead somewhere, perhaps away from civilization, but, as Fuchs makes plain, are certainly civilizing entities themselves, the artificial medium by which nature is found.
Alone on dirt roads, at city curbs and in vast parking lots, the subjects of Bernhard Fuchs's color portraits wait and rust. He writes of them, "On my bicycle tours, time and again, I saw passenger cars, buses and trucks that just stood around. I think my first reaction was to look for the absent owners. Since I hardly ever saw anyone, I stayed alone with the situation, and a relationship to these vehicles began to develop as I would not have expected it. The cars in the landscape had an impact on me, similar to the impact of actors on a stage, and I began to collect their wit and their tragedy." Fuchs gives the 40 vehicles photographed here--an Opel, a Volvo, a Skoda, Fiat, Mercedes, Ford, Mazda, VW bus--a moment in the spotlight and a good-sized stage at almost 12 x 17 inches.