1980 Avant-Garde Photography in Germany, 1919–1939, San
Francisco Museum of Modern Art, San Francisco, Cali-
fornia, and traveling
1980 When Words Fail, International Center of Photogra-
phy, New York, New York
1981 ringl + pit, Bauhaus-Archiv, Berlin, Germany
1982 Avant-garde Fotografie in Deutschland, 1919–1939,
Munich, Germany
1983 Bauhausfotografie, Institut fu ̈r Auslandsbeziehungen,
Stuttgart, Germany, and traveling
1984 ringl + pit, Deutsche Botschaft, Buenos Aires, Argentina
1984 ringl + pit, Goethe-Institut, New York, New York
1986 Photography: a Facet of Modernism, San Francisco
Museum of Modern Art, San Francisco, California
1986 Photographie und Bauhaus, Kestner Gesellschaft
Hannover, Hannover, Germany
1988 Experiment Bauhaus, Bauhaus-Archiv, Berlin, Germany
1988 Photography Between the Wars, Metropolitan Museum
of Art, New York, New York
1988 Emigriert: Grete Stern und Ellen Auerbach, Fotogra-
fien vor und nach 1933, Stadtbibliothek Wuppertal, Ger-
many
1989 Werbefotografie in Deutschland seit den 20er Jahren,
Museum Folkwang, Essen, Germany
1990 Fotografie am Bauhaus, Bauhaus-Archiv, Berlin, Ger-
many
1992 Photography at the Bauhaus, The Information of Mod-
ern Aesthetic, Fotofest, Houston, Texas
1993 ringl + pit, Grete Stern und Ellen Auerbach, Museum
Folkwang, Essen, traveling to Berlin, Karlsruhe, Des-
sau, Germany
1997 Auerbach, Ellen & Anton Stankowski, Zeitgenossen,
Walter-Storms Galerie. Munich, Germany
Further Reading
Bertonati, Emilio.Das experimentelle Photo in Deutschland
1918–1940. Munich; 1978.
Dickel, M. and J. F. Oppenheim.22 Fotografinnen.Ko ̈ln:
1983.
Eskildsen, Ute, et al.Die Fotografin Ellen Auerbach, Retro-
spektive. Berlin: Akademie der Ku ̈nste; Munich: Prestel
Verlag, New York: 1998.
Eskildsen, Ute.ringl + pit: Grete Stern und Ellen Auerbach.
Fotograf. Kabinett, Museum Folkwang, Essen, 1993.
Frowein, Cordula.Emigriert: Grete Stern und Ellen Auer-
bach, Fotografien vor und nach 1933, Stadtbibliothek
Wuppertal, Germany, 1988.
Lavin, Maud.ringl + pit: The Representation of Women in
German Advertising (1929–1933).InIdem, Clean New
World. Cambridge, MA: 2001.
Mellor, David.Germany: The New Photography 1927–1933.
London: Arts Council of Great Britain, 1979.
Morris Hambourg, Maria. ‘‘Photography Between the
Wars.’’ InMetropolitan Museum of Art Bulletin, New
York; 1988.
Pierce, Donna. InMexican Churches / Eliot Porter & Ellen
Auerbach. Albuquerque: University of New Mexico
Press, 1987.
Pierce, Donna, Eliot Porter, and Ellen Auerbach.Mexican
Celebrations. Albuquerque: University of New Mexico
Press, 1990.
Sullivan, Constance.Women Photographers. New York:
Harry N. Abrams, 1990.
Valdivieso, Mercedes, Inka Graeve Ingelmann, et al.Ellen
Auerbach. La Mirada intuitiva, Fondacion ‘‘la Caixa,’’
Barcelona: 2002.PHOTOGRAPHY IN AUSTRALIA
Australia is an island continent situated between
the Indian and Pacific Oceans to the southeast of
Asia. Settled at least 40,000 years ago by Austra-
lian Aborigines it was colonized by Britain in 1788.
Despite its geographical distance from Europe,
news of the invention of photography reached Aus-
tralia’s small free settler population by late 1839
and, two years later, George Goodman took the
first known daguerreotypes. The introduction of
photography paralleled the establishment and
rapid growth of colonial settlement, and the cam-
era became an extremely popular way for Eu-
ropean photographers to represent a ‘‘new’’ land
and its distinctive features.
By the time Australia became a Federation on 1
January 1901, the practice of photography had
developed significantly as a creative process.
Along with thriving commercial portrait studios,
the turn of the twentieth century saw a dedicated
group of photographers committed to promoting
the medium as art. Pictorialism, an international
photographic movement that originated in Great
Britain in the late 1890s, began to gain currency in
Australia by the early 1900s and was a dominant
style for several decades.
John Kauffmann was one of the country’s ear-
liest and finest Pictorialists gaining his first-hand
awareness of this soft-focus, aesthetic style from his
travels to Great Britain and Europe. While Kauff-
mann was especially adept at ‘‘low-toned’’ work,
fellow Pictorialist Harold Cazneaux helped pro-
mote a ‘‘higher-keyed’’ approach. Cazneaux be-AUERBACH, ELLEN