{"id":799,"date":"2020-02-18T10:18:20","date_gmt":"2020-02-18T10:18:20","guid":{"rendered":"http:\/\/kayfingerle.com\/?page_id=799"},"modified":"2020-02-24T20:41:07","modified_gmt":"2020-02-24T20:41:07","slug":"mies","status":"publish","type":"page","link":"http:\/\/kayfingerle.com\/?page_id=799","title":{"rendered":"mies"},"content":{"rendered":"\n

The photography in the exhibitin Mies in Berlin <\/em>spans nearly a century. On one end of the spectrum, archival prints from large- format glass negatives as early as 1907 document Ludwig Mies van der Rohe\u2018s earliest work; on the other, recent, digitally altered images by Thomas Ruff subject those iconic images to postmodern mani- pulation. Yet in Mies in Berlin <\/em>photography is annexed to architecture, so that even in it\u2018s dramatically different manifestations, it is organized and brought into focus by individual buildings. Between the two extremes represented by vintage archival prints and digital manipu- lations in Mies in Berlin <\/em>are a series of new photographs of Mies\u2018s German-period buildings by the contemporary german photographer Kay Fingerle.
Although many of the images are striking examples of their genre, one series of Fingerle\u2018s photographs has an especially lyric presence.
Among the buildings shot for the MoMA show, she has photographed Mies`s German Pavillion \u0301at Barcelona, a building known only through photographs for more than fifty years \u2026 Fingerle confronted the daunting challen- ge of rephotographing this building, which owes its very existence to the power of photography. Her images naturally depict aspects of the pavilion not represented in the original photos, illustrating changes in our understanding of architecture over nearly seventy-five years. Claire Zimmermann in MoMA Magazine June 2001<\/p>\n\n\n\n