「Der Rote Bulli. Stephen Shore und die Neue Düsseldorfer Fotografie」も今日から始まりますし、
ドイツの写真とアメリカの写真との結びつきということで、*1
ベッヒャー・シューレ（デュッセルドルフ）とは異なる系譜に属するヨアヒム・ブロームについて。
◇ Joachim Brohm - Galerie Michael Wiesehöfer
http://www.fw-galerie.de/brohm/index.html
http://www.fw-galerie.de/brohm/brohmb.html
エッセンのフォルクヴァンク・シューレ*2、ヴィジュアル・コミュニケーション学科出身。
アメリカに渡り、オハイオ州立大学（Ohio State University）でアラン・セクーラ（Allan Sekula）に学ぶ。*3
現在は、ライプツィヒのグラフィック・装丁芸術大学（Hochschule für Grafik und Buchkunst Leipzig）で教授を務めています。
ちなみに私は、２００７年にキッケン・ベルリン（KICKEN BERLIN http://www.kicken-gallery.com/）で
開催された個展（ギャラリー別室のウジェーヌ・アジェの展示と同時開催）を見ています。
それ以前に、ウェブか写真集で写真は知っていて、その独特の距離感覚と、
アメリカのカラー写真（ステーヴン・ショア、ジョエル・スタンフェルドなど）との類似点と相違点に興味を持っていました。*4
◇ Prof. Joachim Brohm - Hochschule fuer Grafik und Buchkunst / Leipzig
http://www.hgb-leipzig.de/index.php?a=person&b=mitarb&&id=14
去年までハイディ・シュペッカー（Heidi Specker）も教授を務めていました。*5
◇ Joachim Brohm – Wikipedia
http://de.wikipedia.org/wiki/Joachim_Brohm
◇ Ruhr by Joachim Brohm - Steidl
Joachim Brohm’s photographic series Ruhr documents the German Ruhr area during its industrial decline from the late 1970s to the mid-80s. With this work Brohm became one of the first to engage with the issues raised by American photography – the landscape photography of the nineteenth century and the topographical photography from 1970 onwards – and transport them into a European context. Ruhr is an integral link between USA and European photography and its special significance is revealed with this first complete monograph.
http://www.steidlville.com/books/515-Ruhr.html
◇ Ohio by Joachim Brohm - Steidl
Joachim Brohm was among the first of a younger generation of German photographers who discovered in color photography a new medium of self-expression. At the end of the 1970s serious artistic photography was still supposedly only made in black and white, despite major developments such as William Eggleston’s controversial 1976 show at the Museum of Modern Art in New York. Brohm’s Ohio photographs were made in 1983 and 1984 whilst he was living in the state as a student and Fulbright scholar. His pictures show cluttered yards and houses and focus on apparently trivial and banal scenes of everyday American life. At the time such mundane quotidien scenarios were considered unworthy of a photograph. This, combined with his use of color photography, made the Ohio series a significant experiment in search of a new pictorial language.
http://www.steidlville.com/books/787-Ohio.html
◇ Areal by Joachim Brohm - Steidl
From 1992 to 2002 at the edge of a major German city, Joachim Brohm documented the transformation of an industrial zone characterized by unplanned growth into a modern and futuristic residential and business park. With the patience of a botanist and the curiosity of a cat, he dedicated himself to this area of backyards, enclosures, piles of materials and, later, to the deserted grounds, the geometrically laid-out streets and the rising new constructions.
During his long-term project Brohm worked meticulously to capture the changes in the urban infra-structure. His is a sober everyday world marked by a huge number of trivial details. The photographs’ finely balanced composition give evidence of the ambiguity in the seemingly familiar and the permanent flow of reality.
http://www.steidlville.com/books/9-Areal.html
◇ Joachim Brohm on artnet
http://www.artnet.com/Artists/ArtistHomePage.aspx?artist_id=190210&page_tab=Artworks_for_sale
◇ JOACHIM BROHM: "Joachim Brohm" (1993) - AMERICAN SUBURB X
By Justin Hoffman & Charles V. Miller, Artforum, January 1, 1993
Joachim Brohm's work demonstrates that there are other kinds of "straight" photography in Germany besides the "Becher School." The effect of Brohm's work is comparable to that of the Bechers: he equates reproduction and the autonomous image, realism and abstraction, but his vision is different. While Thomas Ruff, Thomas Struth, or Axel Hutte place classical subjects such as humankind, a landscape, or the city at the center of their work, Brohm's images seem strangely empty. Their centers seem to have fled; a surface has appeared in front of the camera's lense that surrounds the actual image. In one image, a high wall obscures a house; one can only see the chimney and the peak of the roof. In another, one can only surmise what can be seen through the holes of a sheet of corrugated iron. Decentralization, the empty center becomes characteristic of Brohm's work; the dynamic components of the image are pressed to the periphery just as in the paintings of Sam Francis or Clyfford Still.
Characteristic of Brohm's work is a dark, cloudy sky that appears white in the photographs. Another photographer would light the image so that the sky would have a gray tone in order to differentiate between image and paper, but Brohm prefers to allow the two to merge. Thus, background and subject are combined and create marked forms beyond the rectangle.
Behind these formal concerns, there lies a political and social content. In a new work--an image of a mosaic with classical decoration--small swastikas actually form the pattern. This is not immediately apparent, but upon closer examination they are evident. This mosaic is still in the entry foyer of the Haus der Kunst in Munich which, in 1937, was dedicated to the city by Adolf Hitler as a National Socialist temple of art.
http://www.americansuburbx.com/2009/05/theory-joachim-brohm.html
◇ Joachim Brohm - Conscientious
It’s interesting to see how Joachim Brohm’s photography has many similarities with the work of, say, Stephen Shore or Joel Sternfeld and is quite different from what many people think of as “German” photography.
http://jmcolberg.com/weblog/2007/08/joachim_brohm/
*1:アメリカ近代写真の父、アルフレッド・スティーグリッツ（アメリカ、ニュージャージー生まれ）はドイツ系ユダヤ人移民。
ベルリン工科大学に留学し、写真を撮り始め、ヨーロッパの芸術思潮に大きな影響を受けたのちに帰国。
その後の活躍はよく知られていると思います。
*2:ピナ・バウシュの出身校であり、後に彼女が教授を務めていた。
*3:セクーラに学んだというのが、とても興味深いポイント。
*4:アメリカ、ヨーロッパ、日本の７０年代後半から９０年ごろにかけての大判・中判カラー写真家の比較（比較用データベース）もいずれ。
*5:今は、Deutsche Akademie Rom Villa Massimoにいらっしゃるようです。
