Das Medium ist berechtigt, Denkansto ̈ße zu geben;
Kunstverein; Hamburg, Germany
Kunst als Fotografie, Fotografie als Kunst; Berlinische
Galerie; Berlin, Germany
1990 Photography Until Now; Cleveland Museum of Art;
Cleveland, Ohio
The Past and the Present of Photography; Museum of
Modern Art; Kyoto, Japan
Museum der Bildenden Ku ̈nste; Leipzig, Germany
BerlinerKUNSTstu ̈cke; Neue Berliner Galerie im
Alten Museum; Berlin, Germany
1992 Berlin! Visits Dublin; Berlinische Galerie; Berlin, Ger-
many
Jahreslabor: Ein Bericht; Berlinische Galerie; Berlin,
Germany
Mehr als ein Bild; Sprengel Museum; Hannover, Ger-
many
1993 Industriefotografie heute; Staatsgalerie Moderner
Kunst, Neue Pinakothek; Munich, Germany
Pictures From a Real World; Lillehammer Art Mu-
seum; Lillehammer, Norway (traveled to Kunsthalle;
Bergen, Germany)
1994 Het Siemens Fotoprojekt: Industriefotografie heute;
Nederlands Fotoinstituut; Rotterdam, Netherlands
1997 Positionen ku ̈nstlerischer Photographie in Deutschland
seit 1945; Martin-Gropius-Bau; Berlin, Germany
2000 How You Look At It; Sprengel Museum; Hannover,
Germany
2002 Lebendige Files;Bu ̈ro Friedrich; Berlin, Germany
2003 Cruel and Tender: The Real in the Twentieth-Century
Photograph; Tate Modern; London, England
Selected Works
Ausla ̈ndische Mitbu ̈rgerr, 1973
Berlin-Kreuzberg, 1973
Berlin, Stadtbilder, 1976–1980
Selbst, 1985–1989
Waffenruhe, c. 1987
Un-i-ty, 1991–1994Further Reading
Baltz, Lewis, and John Gossage.Fotografie aus Berlin. New
York: Castelli Graphics, 1984.
Dexter, Emma, and Thomas Weski, eds.Cruel and Tender:
The Real in the Twentieth-Century Photograph. London:
Tate Publishing, 2003.
Jennings, Michael W. ‘‘Not Fade Away: The Face of Ger-
man History in Michael Schmidt’sEin-heit.’’October,
106 (Fall 2003).
Liesbrock, Heinz, and Thomas Weski, eds. Michael
Schmidt: Frauen. Cologne, Germany: Ko ̈nig, 2000.
Schmidt, Michael. ‘‘Letter.’’ In Lewis Baltz.Rule Without
Exception. Albuquerque: University of New Mexico
Press in association with the Des Moines Art Center,
1990.
Schmidt, Michael.Un-i-ty. New York: Scalo, 1996. (AsEin-
heit.Zurich: Scalo, 1996).
Schmidt, Michael. Berlin-Kreuzberg, Stadtbilder. Berlin:
Publica, 1984.
Schmidt, Michael, and Ute Eskildsen, eds.Michael Schmidt,
Fotografien seit 1965. Essen, Germany: Museum Folk-
wang, 1995.
Schmidt, Michael, and Einar Schleef.Waffenruh. Berlin:
Verlag Dirk Nishen, 1987.
Michael Schmidt. Fotografien. Hannover, Germany:
Sammlung Bernd F. Ku ̈nne, 1999.TONI SCHNEIDERS
German
Toni Schneiders, one of the most widely published
German photographers, emerged in the 1950s with
a group of young photographers who made an
impact ‘‘like an atom bomb of contemporary
photography,’’ as one contemporary critic wrote.
This now-legendary group, fotoform, was founded
in 1949 and included Peter Keetman, Siegfried
Lauterwasser, Wolfgang Reisewitz, Otto Steinert,
and Ludwig Windstosser. All members of the
group later participated in theSubjektive Fotogra-
fie(subjective photography) exhibitions organized
by Otto Steinert.Subjektive Fotografiebecame an
international movement of considerable influence,
for which fotoform served as the germinating seed.
Toni Schneiders was born in 1920 in Koblenz in
western Germany. Directly after completing his
apprenticeship as a master photographer there,
Schneider was drafted into military service in
1940 at the age of 20, and he served in the pho-
tography unit of the German air force. As a young
war reporter in 1944, he participated in the libera-
tion of Benito Mussolini from Gran Sasso by Ger-
man paratroopers and documented the surprise
attack on film. Like many of his colleagues, Schnei-SCHMIDT, MICHAEL