Gertrud arndt biography of martin
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Exhibition dates: Sixteenth April &#; 2nd Oct
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Modern Photographs from the Thomas Walther Collection
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Modern Photographs from the Thomas Walther Collection - '–'
New York, United States
Heins ( - ); J. Jay Hirz; Florence Henri ( - ); Irene Hoffmann ( - ); Bernard Shea Horne ( - ); George Hoyningen-Huené ( - ); Lotte Johanna Jacobi ( - ); Peter A. Juley ( - ); Roman Lasarewitsch Karmen ( - ); György Kepes ( - ); István Kerny ( - ); André Kertész ( - ); Edmund Kesting ( - ); Imre Kinszki ( - ); Fred G. Korth ( - ); August Kreyenkamp ( - ); Germaine Krull ( - ); Harry B. Lachman ( - ); Walter R. Latimer ( - ); Jiří Lehovec ( - ); Helmar [Israel Schmuklerski] Lerski ( - ); Elisabeth Lindemann ( - ); Otto Lindig ( - ); El [Lazar Markovich] Lissitzky ( - ); Herbert List ( - ); Heinz Loew ( - ); Éli [Eliazar Lotar Teodorescu] Lotar ( - ); George Platt Lynes
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Interestingly enough, during the Weimar Republic-era several women such as Marta Astfalck-Vietz and Claude Cahun turned to costumed self-presentation in their photographic work. This variety of photographic self-portraiture, however, was for the most part created by professional artists. Gertrud Arndt, on the other hand, never saw herself as a photographer nor even as an artist. Thus, although given the social, political, and art historical context it is understandable that Arndt’s mask photographs are often understood as emerging out of the same tradition as Astfalck-Vietz’s and Cahun’s work, her photographs were—according to her own admission—merely excursions into her own face. While the self-portraits of her female contemporaries can be understood more explicitly as a form of social critiques or self-representations of newly achieved female emancipation,10 they are only remotely related to Gertrud Arndt’s mask photographs.
Towards the end of the s, the medium of photography became affordable for a wider audience and more popular as a result. With the market introduction of easy-to-handle 35 mm cameras (the best known of which is the Leica), photography increasingly turned out to be a feasible profession for women. In the s, the camera, which could now be slipped into a