Museum of the Great Patriotic War, Moscow, Russia;
The Jewish Museum, New York, New York; The Field
Museum, Chicago, Illinois; The Houston Holocaust
Museum, Houston, Texas; Mead Art Museum, Amherst
College, Amherst, Massachusetts; The Janice Charach
Epstein Gallery, Jewish Community Center of Metropo-
litan Detroit, West Bloomfield, Michigan; Centro Portu-
gueˆ s de Fotografia, Porto, Portugal
1998 The Netherlands: Land out of Sea; Maly Manezh;
Moscow, Russia
2000 De Noordzee; De Nieuwe Kerk; Amsterdam, The
Netherlands
2003 Zwart-wit Kleur; Amsterdams Historisch Museum;
Amsterdam, The Netherlands
De Ramp van ‘53 door het oog van de media; Neder-
lands fotomuseum; Rotterdam, The Netherlands
Panorama Amsterdam 1862–2003; Fotografiemu-
seum Amsterdam FOAM; Amsterdam, The Netherlands
2004 Onbedoelde Fotografie; Amsterdams Centrum voor
Fotografie; Amsterdam, The Netherlands
Selected Works
Antwerp De Zwanegang (street), 1949
Zebra, 1957
American War Cemetery, 1960
Oysterbed, 1961
Scheepswerf NDSM, 1961
Rodmen, 1961
Further Reading
Eskildsen, Ute, Robert Knodt, and Christel Liesenfeld.
Subjektive Fotografie: Images of the 50s. Essen: Museum
Folkwang, 1984.
Groenman, Sjoerd, and Aart Klein. Delta; Poort van
Europa, Amersfoort: Roelofs van Goor, 1962.
Groenman, Sjoerd, Klaas Graftdijk, and Aart Klein.Delta.
Stromenland in beweging. Land im Fluss. Currents to
future. Desafio al mar. Amersfoort: Roelofs van Goor,
1967.
Haveman, Marie ̈tte. ‘‘Met een meeuw in zijn tas. De foto’s
van Art Klein.’’Kunstschriftno. 1 (1999).
Hekking, Veronica, and Flip Bool.De illegale camera 1940–
1945, Nederlandse fotografie tijdens de Duitse bezetting.
Naarden: V+K Publishing, 1995.
Leeflang, S.A., W. Hijmans, and Aart Klein.Professioneel
profiel—Philips, Eindhoven: Philips Nederland N.V.,
1970.
Marsman, Eddie. ‘‘Aart Klein, maker van bouwwerkjes.’’
Fotono. 11 (2001).
Marsman, Eddie. ‘‘Aart Klein.’’Fotono. 7/8 (1996).
Nesna, Hans, Aart Klein, and Sem Presser. Zoo leeft
Duitschland. Op de puinhopen van het Derde Rijk. Amster-
dam: Scheltens & Giltay, 1946.
Terreehorst, Pauline.Aart Klein, fotograaf. Utrecht: s.n.,
1986.
Terreehorst, Pauline. Aart Klein: Kleur in zwart/wit.
Amsterdam: Boekhandel De Verbeelding, 1990.
van Veen, Anneke, ed.Foto’s voor de Stad, Amsterdamse
documentaire foto-opdrachten. Amsterdam: Gemeen-
tearchief Amsterdam, 1992.ASTRID KLEIN
German
The German photo artist Astrid Klein became well
known in the 1980s with her large scale black-and-
white photo works—she uses this term to distinguish
her intentions from traditional photography. In
almost all her works Klein uses existing text and
graphic material, altering it greatly through various
manipulations including greatly enlarging it, overlay-
ing grids or other markings, including masking and
stencilling, and using positive and negative images.
By unhinging pictures and words from their original
context, these materials lose their relationship to rea-
lity. The concept of a photograph as a reproduction
of reality, that is, the ability to map a real item onto a
picture, is given up and transferred into fiction
through distancing. She is also a sculptor and writer.
Born in Cologne in 1951, Klein studied at the
Academy of Art and Design in Cologne. At
the beginning of her artistic career she created
small-sized gouaches on backgrounds. It was in the
late 1970s that she dedicated herself to photography,
and along with German photo artist Rudolf Bonvie,
embarked on a project to work out the specifics of
the medium as a pictorial application independent of
traditional photographic usages. Later, her interest
was directed toward an analysis of the journalistic
use of pictures, as reflected in her use of photo
material from mass media. Klein can therefore be
seen as connecting to a generation of artists, which,
in the 1960s and 1970s, dealt with the unpleasant
realism of the mass-media-based photography.
Among these artists, were Ju ̈rgen Klauke, who was
teaching at the Fachhochschule Ko ̈ln in the mid-KLEIN, AART