Teaching
Arno Fischer, Evelyn Richter
29 Jun - 11 Sep 2016
TEACHING
Arno Fischer, Evelyn Richter
29 June - 11 September 2016
During the course of the 1980s photography establishes itself as a form of artistic expression. At the Leipzig Academy of Visual Arts this development is closely linked to the appointment of Arno Fischer and Evelyn Richter. "Teaching. Arno Fischer. Evelyn Richter." in the Kunsthalle of Sparkasse Leipzig presents selected final year projects of the two classes. Scenes from everyday study life, teaching and the project exhibition complement the original prints to form a vivid image of this formative chapter in the recent history of the academy.
The positions presented combine the influence of the two lecturers with contemporary impulses of the 1980s to form photographic signatures in their own right. In addition to the selected themes and photographic imagery, this also concerns the forms in which the pictures are presented. In this way the increasingly large formats bear witness to the - albeit reserved - tendency towards abstraction and the serial approach of the individual pieces on display, the desire to overcome the boundaries of the medium. Taken in their entirety, they convey an impression of the variety and historic development of documentary forms of expression on the threshold to conceptual photography.
Arno Fischer, Evelyn Richter
29 June - 11 September 2016
During the course of the 1980s photography establishes itself as a form of artistic expression. At the Leipzig Academy of Visual Arts this development is closely linked to the appointment of Arno Fischer and Evelyn Richter. "Teaching. Arno Fischer. Evelyn Richter." in the Kunsthalle of Sparkasse Leipzig presents selected final year projects of the two classes. Scenes from everyday study life, teaching and the project exhibition complement the original prints to form a vivid image of this formative chapter in the recent history of the academy.
The positions presented combine the influence of the two lecturers with contemporary impulses of the 1980s to form photographic signatures in their own right. In addition to the selected themes and photographic imagery, this also concerns the forms in which the pictures are presented. In this way the increasingly large formats bear witness to the - albeit reserved - tendency towards abstraction and the serial approach of the individual pieces on display, the desire to overcome the boundaries of the medium. Taken in their entirety, they convey an impression of the variety and historic development of documentary forms of expression on the threshold to conceptual photography.