Becher, Bernd and Hilla (Continued)
German, 111–113
ground-breaking exhibition, 113
group exhibitions, 114
individual exhibitions, 113, 114
industrial relics, 112
influence of, 113
minimal and conceptual art, 112
photo-herbarium, 112
precursor of work, 112
sculptural presence, 113
selected works, 114
SK-Stiftung Kultur, 113
Spurensicherung, 113
typological serialization of photos, 112
Typologien, 111, 113
unique approach, 112
unique collaboration, 111
vanishing industrial architecture, 111
vernacular architecture, 112
Walter Eichgru and, 111
Bellmer, Hans, 116–119
anagram, 117
biography, 117
fascination with figure, 116
first constructed doll, 116
further reading, 119
gene technologies, 117
German, 116, 117
graphic art, 117
group exhibitions, 119
hopeless artificiality, 116
individual exhibitions, 117, 118
meanings of sexual signs, 117
objects of bad taste, 116
opposition to rise of Nazism, 116
panorama of female torso, 116
prose poem, 116
sculptures, 117
selected works, 117
sense of metamorphosis, 116
Surrealist exhibitions, 117
Berger, John, 119–121
A Fortunate Man, 120
ambiguity, 120
Another Way of Telling, 119
art of photograph, 120
biography, 121
British, 119–121
collaboration, 120
criticism of photography, 120
existential testimony, 120
further reading, 121
Kitchen Sink School, 119
Marxist-oriented critic, 119
The New Statesman, 119
photomontages, 120
quotation of reality, 120
reputation as critic of photography, 120
university umbrella, 119
visual grammar, 120
Why We Look at Photographs, 120
working-class realism, 119
Berlinische Galerie, 121–123
Art Nouveau prints, 122
August Sander, 123
Berlin as fashion center, 123
East-Berlin collection, 123
Eberhard Roters and, 121
financial problems, 121
fledgling museum, 121
founding director, 121
further reading, 123
future of, 123
history of photography, 122
initial goals, 122
Lapidarium, 122
Lotte Jacobi, 123
Martin-Gropius Bau, 121
operation of, 121
overall collection, 122
photograms, 121
photographic collection, 122
photographic history of East Germany, 123
photo-montages, 122
portrait daguerreotypes, 122
Pushkin Museum, 122
recorder of levels of society, 123
vision, 121
Volk und Weltmagazine, 123
Zwischenspiel, 122
Bernhard, Ruth, 123–125
Ansel Adams and, 124
avant-garde photographers, 123
biography, 124
bisexuality, 124
Classic Torso, 124
complex aesthetic, 124
Edward Weston and, 124
first published image, 123
further reading, 125
German, 123–124
group exhibitions, 124
Imogen Cunningham and, 124
individual exhibitions, 124
Machine Art Exhibition, 123
Price Rice and, 124
radiant photographs of female nudes, 123
turning point, 124
Women’s Land Army, 124
Beuys, Joseph, 125–128
Actions, 126
aesthetic ideology, 125, 126
biography, 126, 127
co-founder of Green Party, 125
documentary authority of photography, 126
Enterprise, 126
expanded concept of art, 126
Fluxus, 126
further reading, 128
German military, 125
German Student Party, 125
German, 125, 126
group exhibitions, 128
hospital records, 125
individual exhibitions, 127, 128
instant recognition, 125
isolated moments, 126
Luftwaffe, 125
Organization for Direct Democracy through Referendum, 125INDEXI9