As a further resource the museum offers peda-
gogical guides to its exhibitions, as well as courses
on the key areas of the collections and on the
themes of the exhibitions using original prints
from the museum’s holdings.
The exhibition program features six to eight projects
per year. Exhibitions with historical themes are inter-
changed with exhibitions of contemporary pho-
tography. Among historical exhibitions, the focus has
been on the photography of theNeues Sehensmove-
ment. In 1979, to honor its 50th anniversary, the
museum reconstructed theFilm und Fotoexhibition,
one of the most important for experimental photogra-
phy of the 1920s. In 1982, the museum presented the
works of the photographer Helmar Lerski. In the fol-
lowing years there were important individual exhibitions
and catalogues for photographers of the 1920s, such as
Anne Biermann, Sasha Stone, and Walter Peterhans. In
1994–1995, a large group exhibit took place of female
photographers from the interwar period, ‘‘Fotografieren
hieß teilnehmen—Fotografinnen der Weimarer Republik.’’
In 1999, the collection featured a retrospective of the
works of the photographer Germaine Krull. Since the
1980s a great number of young photographers have had
their first museum exhibition within the photography
collections—Michael Schmidt is an example. Interna-
tionally renowned photographers such as Lee Fried-
lander, William Klein, and Robert Frank have had
individual exhibitions at the Museum Folkwang.
In 1982, when artistic photography was still
rarely in high demand, the museum began sponsor-
ing a scholarship for contemporary German photo-
graphy in collaboration with the Alfried Krupp
von Bohlen und Halbach-Stiftung. In 2000, the
Krupp Stiftung also began sponsoring a program
for young curators. In addition, with support from
the Dietrich Oppenberg Stiftung, the museum
initiated the Albert Renger-Patzsch Prize to sup-
port European photography book production.
EstherRuelfs
Seealso:Auerbach, Ellen; Erfurth, Hugo; History of
Photography: Interwar Years; Lerski, Helmar; Man,
Felix H.; Museums: Europe; Photography in Ger-
many and Austria; Renger-Patzsch, Albert; Peter-
hans, Walter; Salomon, Erich; Sander, AugustFurther Reading
Eskildsen, Ute, ed.Albert Renger-Patzsch. Bilder aus der
Fotografischen Sammlung und dem Giradet Archiv. Essen:
Museum Folkwang, 1997.
Eskildsen, Ute, ed.,Ein Bilderbuch. Die Fotografische Sam-
mlung im Museum Folkwang. Essen, Go ̈ttingen: Steidl
Verlag, 2003.
Eskildsen, Ute, ed.Der Fotograf Otto Steinert.Go ̈ttingen:
Steidl Verlag, 1999.
Eskildsen, Ute, ed.Metamorphosis through Light. (Verwan-
dlungen durch Licht), Freren, Germany: Luca Verlag, 1982.
Eskildsen, Ute, and Simone Fo ̈rster, eds.
Wenn Berlin Biarritz wa ̈re. Architektur in Bildern der Foto-
grafischen Sammlung im Museum Folkwang. Essen:
Museum Folkwang, 2001.
Florian, Ebner. ‘‘Fotografische Sammlung Museum Folk-
wang Essen.’’EikonHeft 18/19/20 (1996): 19–26.
‘‘Interview mit Ute Eskildsen, Kustodin der Fotografischen
Sammlung Museum Folkwang Essen.’’EikonHeft 18/
19/20 (1996): 26–34.
Otto Steinert und Schu ̈ler. Fotografie und Ausbildung 1948–
1978. Essen 1990.
Sammlung Otto Steinert.Fotografien. Fotografische Samm-
lung im Museum Folkwang. 2nd edition. Essen 1985.THE MUSEUM OF MODERN ART OF
NEW YORK
The Museum of Modern Art of New York
(MoMA) did more than any other institution to
shape the art of photography in the twentieth cen-
tury. Over the course of the century it played a
crucial role in enhancing the aesthetic and finan-
cial importance of photography as well as helping
to define the scope of photography as an art form.
The museum achieved this through the exhibitions
it organized, through its collecting policies, and
through the activities of its now-legendary curators
of photography: their choices, catalogue notes,
and books.MUSEUM FOLKWANG