{"title":"幽灵与岩石:阿尔伯特·伦格·帕奇与时间的形状","authors":"Megan R. Luke","doi":"10.1111/1467-8365.12696","DOIUrl":null,"url":null,"abstract":"<p>The career of photographer Albert Renger-Patzsch began in the early 1920s in the storerooms of Germany's ethnographic museums, and ended in 1966 with the publication of his last photobook, <i>Gestein</i> (Rock). His reputation as a leading exponent of <i>Neue Sachlichkeit</i> (New Objectivity) developed in tandem with heated debates over sculptural facsimiles and contemporary art in the historical museum in the late Weimar Republic. These debates gave expression to the ‘non-simultaneity of the simultaneous’ (<i>Ungleichzeitigkeit des Gleichzeitigen</i>), a central concept for the crisis of historicism in the post-inflation years. In an age of mass reproduction, could ‘things’ still reliably embody and convey the past into present? This question took on renewed urgency for Renger at the end of his life – as, indeed, it did for many writers of his generation, who, if they outlived Nazi terror, genocide, and war, looked back on the historical valence of objecthood as unfinished business.</p>","PeriodicalId":8456,"journal":{"name":"Art History","volume":"46 1","pages":"124-153"},"PeriodicalIF":0.3000,"publicationDate":"2023-03-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/1467-8365.12696","citationCount":"0","resultStr":"{\"title\":\"The Ghost and the Rock: Albert Renger-Patzsch and the Shape of Time\",\"authors\":\"Megan R. Luke\",\"doi\":\"10.1111/1467-8365.12696\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<p>The career of photographer Albert Renger-Patzsch began in the early 1920s in the storerooms of Germany's ethnographic museums, and ended in 1966 with the publication of his last photobook, <i>Gestein</i> (Rock). His reputation as a leading exponent of <i>Neue Sachlichkeit</i> (New Objectivity) developed in tandem with heated debates over sculptural facsimiles and contemporary art in the historical museum in the late Weimar Republic. These debates gave expression to the ‘non-simultaneity of the simultaneous’ (<i>Ungleichzeitigkeit des Gleichzeitigen</i>), a central concept for the crisis of historicism in the post-inflation years. In an age of mass reproduction, could ‘things’ still reliably embody and convey the past into present? This question took on renewed urgency for Renger at the end of his life – as, indeed, it did for many writers of his generation, who, if they outlived Nazi terror, genocide, and war, looked back on the historical valence of objecthood as unfinished business.</p>\",\"PeriodicalId\":8456,\"journal\":{\"name\":\"Art History\",\"volume\":\"46 1\",\"pages\":\"124-153\"},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2023-03-06\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://onlinelibrary.wiley.com/doi/epdf/10.1111/1467-8365.12696\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Art History\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://onlinelibrary.wiley.com/doi/10.1111/1467-8365.12696\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Art History","FirstCategoryId":"1085","ListUrlMain":"https://onlinelibrary.wiley.com/doi/10.1111/1467-8365.12696","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
引用次数: 0
摘要
摄影师Albert Renger Patzsch的职业生涯始于20世纪20年代初,在德国民族志博物馆的储藏室里,并于1966年出版了他的最后一本摄影书《Gestein(Rock)》。在魏玛共和国后期的历史博物馆里,他作为新客观性(Neue Sachlichkeit)的主要倡导者的声誉与关于雕塑临摹和当代艺术的激烈争论同时发展起来。这些辩论表达了“同时性的非同时性”(Ungleichzeitigkeit des Gleichzeitigen),这是后通货膨胀时期历史主义危机的核心概念。在一个大规模复制的时代,“事物”还能可靠地体现和传达过去到现在吗?在伦格生命的尽头,这个问题再次变得紧迫起来——事实上,这对他那一代的许多作家来说也是如此,如果他们在纳粹恐怖、种族灭绝和战争中幸存下来,他们会把反对对象的历史价值视为未完成的事业。
The Ghost and the Rock: Albert Renger-Patzsch and the Shape of Time
The career of photographer Albert Renger-Patzsch began in the early 1920s in the storerooms of Germany's ethnographic museums, and ended in 1966 with the publication of his last photobook, Gestein (Rock). His reputation as a leading exponent of Neue Sachlichkeit (New Objectivity) developed in tandem with heated debates over sculptural facsimiles and contemporary art in the historical museum in the late Weimar Republic. These debates gave expression to the ‘non-simultaneity of the simultaneous’ (Ungleichzeitigkeit des Gleichzeitigen), a central concept for the crisis of historicism in the post-inflation years. In an age of mass reproduction, could ‘things’ still reliably embody and convey the past into present? This question took on renewed urgency for Renger at the end of his life – as, indeed, it did for many writers of his generation, who, if they outlived Nazi terror, genocide, and war, looked back on the historical valence of objecthood as unfinished business.
期刊介绍:
Art History is a refereed journal that publishes essays and reviews on all aspects, areas and periods of the history of art, from a diversity of perspectives. Founded in 1978, it has established an international reputation for publishing innovative essays at the cutting edge of contemporary scholarship, whether on earlier or more recent periods. At the forefront of scholarly enquiry, Art History is opening up the discipline to new developments and to interdisciplinary and cross-cultural approaches.