Image & Narrative, Vol 11, No 4 (2010) 98 Wolfgang Tillmans and the Wandering Image
David Evans
Abstract (E): This paper explores, and relates, two aspects of the work of contemporary artist Wolfgang Tillmans: his fascination with what he terms ‘the wandering image’ whose meaning changes depending on how and where it is used; and his celebratory records of alternative lifestyles.
Abstract (F): Cet article explore et met en relation deux aspects du travail de l’artiste contemporain Wolfgang Tillmans: sa fascination pour ce qu’il nomme ‘l’image errante’ dont le sens varie en fonction de la manière dont elle est utilisée et du lieu de son usage; et ses documents s’attachant à la mise en valeur de styles de vie alternatifs.
Keywords: Wolfgang Tillmans / photography / the wandering image / Soldiers: The Nineties / Lighter / Truth Study Center / The Death of a Collector
Article 1/
In a conversation with the painter Peter Halley, Wolfgang Tillmans recalls his first solo exhibition at the Daniel Buchholz Gallery, Cologne, in 1993:
I found my signature in terms of showing my pictures in a non-hierarchical way. It was a very radical thing at the time, to show magazine pages alongside original photographs and to leave the photographs unframed; not to make a distinction in terms of value – you know, what belongs on the wall, what doesn’t. For me, the printed page had been a sort of unlimited multiple from the start. (Halley, 2002, pp. 14-15)
Reflections on the same exhibition also are the starting point for another conversation with curator Hans Ulrich Obrist. Tillmans remembers his excitement about ‘the potential of the wandering image’ and gives an example:
I had a display case containing four different magazines from four countries. In each magazine, the same photograph, taken by me, appeared – and with all the mistakes and peculiarities one often encounters, like having a color out of register. I thought it was great that one and the same image could cost a few marks in a magazine or book, but a
Image & Narrative, Vol 11, No 4 (2010) 99 few hundred pounds as a photo I had blown up and printed on my own. (Obrist, 2007,
p. 76)
In this case, magazines were brought into the Daniel Buchholz Gallery, but Tillmans has also been keen to do the reverse, and he notes that his first solo exhibition in a public museum (Portikus, Frankfurt am Main, 1995) had as its catalogue an insert in
Spex, an independent magazine about pop culture from Cologne. Tillmans stresses
that he is not a commercial photographer crossing over to the art world. Rather, he is an artist who has always been involved with ‘this intentionally non-hierarchical parallelism of gallery spaces and print media.’ (Obrist, 2007, p. 77)
Tillmans seeks to create images that can be peripatetic and promiscuous, functioning in multiple contexts and relationships, inside and outside of the gallery or museum. In this respect, he challenges those contemporary art photographers who seek the gravity traditionally associated with the better-established medium of painting, like the so-called ‘Düsseldorf School’, that generally privileges a strictly-hung exhibition of large, limited-edition prints, with the catalogue or monograph as mere supplement. Compared with Andreas Gursky or Candida Höfer, say, Tillmans comes across as light and playful, and in part he has established his reputation by developing modes of presentation and distribution that contrast sharply with the working methods of Bernd and Hilla Becher and their former students that are marked by sobriety.
Image & Narrative, Vol 11, No 4 (2010) 100 Corinne on Gloucester Place (1993). Courtesy Galerie Daniel Buchholz, Cologne / Berlin.
Yet the enthusiasm of Tillmans for ‘the wandering image’ also complements a major thematic concern: subjectivity understood as everyday, personal lifestyle and ‘the utopian concept that independent ways of living are indeed possible.’ (Verwoert, 2002, p. 37) The formulation is by critic Jan Verwoert who notes the distance of Tillmans from eighties debates around the subject that often juxtaposed advocates of an authentic, inner-self and those who denied its existence. Instead, Verwoert sees affinities between Tillmans’ commitment to alternative, utopian lifestyles and ideas associated with The Birmingham Centre for Contemporary Cultural Studies whose researches in the 1970s dealt sympathetically with youth subcultures. Resistance
through Rituals: Youth subcultures in post-war Britain (London, 1976) is a
well-known example of the Centre’s work, with various case studies sharing the assumption that youth subcultures invariably involve some kind of fashioning of the ‘self’ and the ‘group’, at odds with dominant culture. The Centre argued that such fashioning regularly entails finding new uses for familiar elements, and Verwoert adopts such an approach when he reflects on the number of times the portraits of
Image & Narrative, Vol 11, No 4 (2010) 101 Tillmans contain people wearing military clothing. Why? Verwoert takes it for
granted that the clothes do not register bellicose attitudes. On the contrary, we have here creative appropriation, with military utility wear becoming ‘a symbol for a promise of autonomy, a life-style of self- sufficiency’ and the unisex style of the clothes representing ‘an ideal of androgyny’. (Verwoert, 2002, p. 56) In short, Tillmans is recording and celebrating young people who treat living as a form of continuous, adventurous editing, not unlike his work with pictures.
Soldiers: The Nineties (1999), cover. Courtesy Galerie Daniel Buchholz, Cologne / Berlin.
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Tillmans is also fascinated by real policemen or soldiers in uniform and began to collect images of them in the early nineties. One outcome was Soldiers: The Nineties (Cologne, 1999), a book in which the archive or collection is spread over seventy-five pages. There are many press photographs clipped from American, British or German newspapers, often with snippets of text that allows one to relate the image to a particular conflict, like the breakup of Yugoslavia. However, many photographs lack any anchoring caption or headline. Most of the collection relates to contemporary war but there are also other items like the photographs of riot police roughly handling demonstrators or squatters in Germany, and Tillmans inserts some of his own
Image & Narrative, Vol 11, No 4 (2010) 102 photographs without caption or credit. In addition, there is no contextual essay, list of
illustrations, or pagination. Cumulatively, the blurs and omissions transform press photographs into subjective documents for a personal scrapbook. Typically, Tillmans has also made different sized copies of some of the same material for the gallery or museum wall. Viewed on the wall, the scrapbook takes on the qualities of that related cornucopia of desires and fantasies, namely, the collaged bedroom wall of the teenager.
Soldat 1 / Soldat 11, included in Burg (1998) and Soldiers (1999). Courtesy Galerie Daniel Buchholz, Cologne / Berlin.
Soldiers is broached in the book of conversations between Obrist and
Tillmans. Obrist refers to the images as ‘typologies of ready-made, found pictures’ (Obrist, 2007, p.125) and links them to the book-works of Hans-Peter Feldmann. Tillmans acknowledges links with the archival activities of Feldmann, but is keen to distance himself, too. Unlike Feldmann, he recognizes that his collecting is fuelled in part by ‘the private aspect’, ‘the fetish element’, ‘these personal things’. (Obrist, 2007, p.125) To put it bluntly, he is excited by young men in uniforms. Take two of his own photographs that depict a German soldier on a train. They appear without credits or titles in Soldiers, but are called Soldat I and Soldat II in an earlier book by
Image & Narrative, Vol 11, No 4 (2010) 103 Tillmans called Burg (Cologne, 1998), where they are discussed in the introductory
essay by critic David Deitcher. For Deitcher, both photographs:
[…] emit an incendiary sexual charge, which is not entirely due to the fetishized appeal of this big man in uniform; it also derives from the pleasure Tillmans evidently took in stealing a sideways glance at this man who, though put together to elicit admiration, might not have welcomed it from a fag. (Deitcher, 1998, np)
He also comments that the images convey ‘an enthrallment to a kind of hypermasculinity that for once is completely consistent with the construction of the contemporary gay male ideal in gay market culture and pornography.’ (Deitcher, 1998, np) These are exceptions though, Deitcher grants, and he emphasizes that in general Tillmans explores (and invents) a gay erotics that seeks to sidestep all clichés. These observations are highly relevant to Soldiers in which images of ‘hypermasculinity’ rub shoulders with very different types of material depicting male apprehension, camaraderie or vulnerability.
Soldiers deals with the major conflicts of the nineties that have generated a
number of other important photo-books. Examples include Fait (Paris, 1992) by Sophie Ristelhueber, aerial photographs of Kuwait in 1991 that documented the marks and traces left by the recent war and whose qualities are evoked by the different title of the simultaneously published, English edition – Aftermath. Or The
Victor Weeps: Afghanistan (Zurich, 1998) by Fazal Sheikh. And various publications
by Gilles Peress including Farewell to Bosnia (Zurich, 1994) and The Graves:
Srebrenica and Vukovar (Zurich, 1998). The books are very different, yet each
photographer assumes that it is still possible to furnish Details of the World (the title of another artist’s book by Ristelhueber) that can provide valuable visual information for an attentive viewer. Documentary photography and photojournalism are supposedly in crisis, marginalized by, amongst others, film crews working for 24-hour news stations, Postmodern academics questioning the evidential reputation of the photograph, and more recently, amateurs with their camera phones who happen to be in the right place at the right time to record a newsworthy event. (Evans, 2007b, pp. 32-34) Yet the photographers mentioned above all demonstrate how the photo-book continues to be an important platform for innovative documentary projects around contemporary conflicts. These examples have served their purpose if they highlight
Image & Narrative, Vol 11, No 4 (2010) 104 what Tillmans is not attempting in Soldiers. He is certainly using press photographs,
but has never claimed to be a photojournalist or documentary photographer.
Another way of advancing negatively is to relate his project to those who have been keen to relate war and pornography, a notion that was especially popular in the late sixties and early seventies when the escalation of American involvement in Vietnam coincided with the significant growth of the sex industries. A good example here is The Atrocity Exhibition (London, 1970), a novel by J.G. Ballard that was published in New York two years later with the more explicit title Love and Napalm:
Export U.S.A. The latter is also the title of a chapter written in a style that evokes the
matter-of-fact, deadpan style of a report in The New Scientist or a paper at some international gathering of distinguished academics. The chapter begins:
Sexual stimulation by newsreel atrocity films. Studies were conducted to determine the effects of long-term exposure to TV newsreel films depicting the torture of Viet Cong: (a) male combatants, (b) women auxiliaries, (c) children, (d) wounded. In all cases a marked increase in the intensity of sexual activity was reported, with particular emphasis on perverse oral and ano-genital modes. Maximum arousal was provided by combined torture and execution sequences. (Ballard, 1970, p. 147)
Ballard’s grim pseudo-scientific writing is complemented by an equally bleak photo-book by artist Klaus Staeck that was published at the same time as The Atrocity
Exhibition. Pornografie (Frankfurt am Main, 1971) includes Staeck’s photographs of
everyday items like a fishhook, grater or lemon squeezer functioning as instruments of torture. Primarily, though, he deftly edits press photographs and advertisements culled from the contemporary press, often showing bodies in extreme pain. In their different ways, Staeck and Ballard adopt documentary modes to add credibility to their depictions of a military-industrial-entertainment complex, lubricated by sex. The end results are dystopic visions, seriously at odds with notions of sexual liberation that were pervasive in North America and Western Europe in the sixties and early seventies. Again, the above helps clarify what Soldiers is not. Like Staeck and Ballard, Tillmans identifies an erotics of war that is often overlooked; unlike them, he treats his discoveries as a cause for celebration.
Soldiers is the end result of a decade of cruising through the world press, on the
lookout for sexually-charged photographs of young policemen and soldiers. His project is willfully reckless, one might argue, yet there are serious precedents for his
Image & Narrative, Vol 11, No 4 (2010) 105 obstinate counter-readings of press photographs. Most obviously, the interwar writing
and picture editing of dissident Surrealist Georges Bataille continuously sought to generate an excess of meaning that escaped all philosophical systems. (Bataille, 1985) At roughly the same time, Soviet literary scholar Mikhail Bakhtin used the attractive metaphor of carnival to characterize exuberant, overflowing challenges to all imposed systems of meaning, in writing that was overtly about the Catholic world of Renaissance Europe, but covertly commented on contemporary Soviet Communism. (Bakhtin, 1984) And both figures informed the thinking of ‘late’ Roland Barthes, especially an essay like ‘The Third Meaning: Research notes on some Eisenstein
stills’ (1970) in which he searched for wild and obtuse meanings that eluded
intellectual domestication. Amongst other things, his obtuse reading recognized a surplus that was never acknowledged by the Soviet authorities: Eisenstein’s homosexuality.
Barthes found significant, overlooked details in stills from the films of a director who is famous for his fastidious attention to every aspect of his productions; Tillmans also discovered the unseen in press photographs that are routinely scrutinized and selected by picture editors with well established criteria for judging the newsworthiness of an image.
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For six months in 2008, the Hamburger Bahnhof in Berlin hosted a large-scale, retrospective exhibition devoted to the work of Wolfgang Tillmans called Lighter. The title is suggestive. It is the name of new series of abstract works in the show, but it also alludes to the artist’s passion for all forms of drawing with light, as well as to a nimble approach to work that distinguishes him from many of his contemporaries. Within the context of a paper on Tillmans and ‘the wandering image’, I wish to concentrate on an innovative, tie-in book and the tables that he has recently started creating, and that cumulatively contribute to what he calls his Truth Study Center. Characteristically, Tillmans avoids a straightforward catalogue. To be sure, the tie-in publication, also called Lighter, opens with three essays that provide useful navigation for visitors to the exhibition, and concludes with the customary paraphernalia - biographical outline, lists of exhibitions (solo and group), artist’s publications and a select bibliography – that confirm an artist’s authority. However, in between is a substantial plates section of more than three hundred pages that has little
Image & Narrative, Vol 11, No 4 (2010) 106 direct relationship to what is shown at the Hamburger Bahnhof. Although there are
some reproductions of new abstract work, the plates mainly document a selection of the artist’s exhibitions in locations that include prestigious galleries and museums around the world, but also the window of the art bookshop of Walther König in Cologne, or the busy Panoramabar in Berlin. In a brief introductory note, the artist explains that the aim is not to give a chronological history of his exhibitions to date. Instead, he wants to show ‘how the works physically exist in the world and how they are given different lives in different spaces’, but he is also interested in the spaces and ‘the moments they were inhabited by these temporary realities.’ (Tillmans, 2008, p. 47) Most obviously, the publication blurs conventional distinctions between an artist’s book and an exhibition catalogue, but it also blurs another convention that sharply differentiates artworks and their documentation. Usually, such records get forgotten in the filing cabinets of artists and their dealers, or perhaps discretely enter the public domain as small black and white illustrations in the occasional scholarly essay. In contrast, Tillmans foregrounds documentation, reminding the viewer that each photograph is its complex past and unpredictable future.
The Berlin exhibition included more than twenty display tables that Tillmans calls Truth Study Center, a new, continuously evolving project that was initially shown at the Maureen Paley Gallery, London, in 2005. The idea of the display table or cabinet offering a mode of presentation that mediates between book and wall is something that has interested Tillmans ever since his mid-nineties exhibition at Portikus, Frankfurt am Main, mentioned earlier. However, now Tillmans wishes to encourage more than reflection on how one of his images can be used in four different ways. In his conversations with Obrist, he makes it abundantly clear that he considers the current decade, especially since the September attacks in 2001, as a hotbed of rival fundamentalisms, to be contrasted with the utopian moment of the previous decade following the end of the Cold War. Tillmans recorded and helped define the 1990s, but a new decade demands a new agenda and Truth Study Center constitutes one artist-citizen’s response to the perilous present. Tillmans tells Obrist:
If we were all less dogmatic about world affairs, we’d have far fewer problems. On the other hand, there are things I accept as absolute truths. The earth revolves around the sun; homosexuality is a reality. But we can’t let those who think it’s okay to be dogmatic monopolize the term “truth.” (Tillmans, 2007, p. 81)
Image & Narrative, Vol 11, No 4 (2010) 107 The aim is to provoke reflection and discussion on pressing issues of the day,
but there is no attempt to treat any topic in a comprehensive way, and:
[…] most of the tables aren’t directly political. They have more to do with the way we perceive things. Topics like these are sometimes juxtaposed with absurd material from the sciences and other areas of life, and there are also my new photographs. (Tillmans, 2007, pp. 85-6)
Truth Study Center is also adapted to different contexts, he remarks, so
creationism is fore-grounded for an American audience and English-language material is reduced in Germany, for example. The Center is discussed in the Lighter publication by Joachim Jäger who identifies simultaneous allusions to sculpture, museum display cabinets and layout tables. He also compares the tables to pre-modern cabinets of curiosities, as well as to the work of certain contemporary artists who work with newspaper material, ranging from Robert Rauschenberg and Andy Warhol to Hans Haacke, Jenny Holzer and Barbara Kruger. And like Tillmans himself, Jäger is keen to view Truth Study Center as a new departure that registers the artist’s engagement with contemporary dogmatisms. (Jäger, 2008, pp. 35-39)
Wolfgang Tillmans, Table 22, Truth Study Center (2007). Courtesy Galerie Daniel Buchholz, Cologne / Berlin.
Take table 22 (2007) that includes photographs crudely clipped from newspapers relating to contemporary conflicts. The most striking is an Associated Press image captioned ’Russian soldiers jumping down from an armored personnel carrier after patrolling near the Chechen border’ that shows young, bare-chested men in a festive mood and recalls the type of ebullient, erotically-charged material assembled in Soldiers. Here, though, it is juxtaposed next to the cover, text and images from the very different photo-book Krieg dem Kriege! (Berlin, 1925) by Ernst Friedrich, dealing with World War One and its aftermath. Immediately adjacent to the
Image & Narrative, Vol 11, No 4 (2010) 108 AP press photograph are two portraits of gueules cassées (roughly translatable as
‘smashed-in mugs’), ex-servicemen from World War who tended to suffer extreme social ostracism in the postwar era as a result of their severely disfigured faces. The captions are factual and restrained: ‘Railwayman. Mouth and right hand torn away. Lower jaw gone’ for the left-hand image; for the right-hand image, ‘Many thousands have to be artificially fed, like this unhappy man.’(Friedrich, 1925, pp. 214-215) Another pairing contrasts a pastoral scene of a smiling soldier in a blossoming orchard with a summary disposal of a soldier’s corpse. The pictures are respectively captioned: ‘Papa as “hero” in the enemy’s country (Picture for the illustrated Family Journal)’ and ‘How Papa was found two days later. (Picture not published in the Family Journal.)’ (Friedrich, 1925, pp. 56-57) And at the end of table 22 is the cover of the book, a montage of photographs from World War One depicting barbarism and sacrifice, over which Friedrich has superimposed a black crucifix.
Krieg dem Kriege! is one of the most strident polemics against war and
militarism ever produced. Its author was Ernst Friedrich, an anarchist and pacifist who also ran an anti-war museum in Weimar Berlin. A simple argument is relentlessly repeated with words and images: The Kaiser may have gone, but his Empire is basically intact, a world of privilege and privation re-named the Weimar Republic. In Germany and elsewhere, then, all the ingredients remain for a repeat of the proletarian tragedy acted out from 1914 to 1918. This can only be averted if workers of the world unite and take on their real enemy - the bourgeoisie. Since the profit motive had been the cause of all major conflicts in the modern era, Friedrich reasons, such a conflict would be the last war.
To transcend national boundaries, War against War has written commentary in Dutch, English, French and German, but most prominence is given to what Friedrich assumes to be the universal language of photography. He regards photographs as ‘records obtained by the inexorable, incorruptible photographic lens’ (Friedrich, 1925, p. 23) and deliberately publishes images – often of corpses, executions and human disfigurement - that had been censored during the war (as threats to public morale) or ignored in the post war period (as threats to official forms of memorial and commemoration). Friedrich wants his book to stand as ‘a picture of War, objectively true and faithful to nature.’ (Friedrich, 1925, p. 22) He usually places a single photograph on a page, accompanied by a brief, factual caption, surrounded by extensive white borders. The overall effect is of judicial evidence, to be coolly
Image & Narrative, Vol 11, No 4 (2010) 109 assessed by an impartial jury of ordinary citizens. At the same time, he wants to
politically channel the revulsion he hopes to elicit. Consequently the skills of a picture editor are deployed to encourage a correct, revolutionary reading. With the gueules
cassées, for instance, his approach is cumulative, hoping to convince with the sheer
weight of evidence. In contrast, the two photographs of Papa, alive and dead, are ironically juxtaposed. In this latter example, text also plays its part in the creation of a mordantly witty message, whereas most of the captions for the portraits tend to be brief biographical notes.
In a way, table 22 is encouraging the viewer to compare and contrast Friedrich and Tillmans; Krieg dem Kriege! and Soldiers; strident meaning and obtuse meaning. What conclusions can be drawn, though? Is Tillmans arguing that the last war wanted by Friedrich will never happen as long as soldiers are as glamorously represented as those in the AP image from near the Chechen frontier? Or is post 9/11 Tillmans is now moving closer to the politically explicit, tendentious editing of Friedrich, with the juxtaposition of exuberant Russian soldiers and grim gueules cassées having strong hints of the before-and-after technique found in Krieg dem Kriege? Or is Friedrich merely being presented as emblematic of a tradition of German photo-books that comment on war from various political perspectives – obvious examples include the works of Tucholsky and Heartfield (1929), Jünger (1932), Brecht (1955) and Staeck (1971) – and that are now merely of historic interest? Typically, Tillmans provides no clear-cut answers, though that does not mean that anything goes. Rather,
Truth Study Center is intended to be a study aid, and table 22 in particular seems to be
intended for all citizens trying to get to grips with what appears to be a new era of global warfare, fuelled by fundamentalist sentiments from all sides.
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Truth Study Center signals a new direction for Tillmans. Nevertheless, his
involvement with the Nordic Pavilion at the 53rd Venice Biennale (2009) confirms that he also continues with playful experimentation. The installation was called The
Death of a Collector, created by Michael Elmgreen and Ingar Dragset with the
participation of a number of other artists including Tillmans. It concludes with a corpse in a pool (created by Maurizio Cattelan), and begins with a desk on which the collector appears to be have been typing the opening lines of an erotic novel or memoir. The Pavilion is designed like an over-tasteful, open-plan, bachelor-pad, and
Image & Narrative, Vol 11, No 4 (2010) 110 the art on the table and walls makes clear the collector’s sexual orientation. He can
afford to buy Tillmans and has a large print of slumbering male nudes hanging in the kitchen area. Significantly, the print has formal similarities with the corpse in the pool and is strategically placed close to the large glass window that both divides and links interior and exterior, cosy apartment and scene of the crime, The collaborative artwork has various literary dimensions. Firstly, the unfinished manuscript is a key element in the narrative. Secondly, the apartment is designed to suggest a film set for a roman noir - another tongue-in-cheek novel by Elmore Leonard, perhaps, re-worked for the age of identity politics. Thirdly, the apartment also seems to be tailor-made for a feature in a magazine like Elle Decoration, Wallpaper orThe World of
Interiors. The participation of Tillmans is not too surprising since his whole career
has involved restless oscillation between wall and page, document and fiction.
This essay is an expanded version of ‘Lighter Tillmans’ Extra 3 (Summer 2009), the biannual magazine of the Fotomuseum, Antwerp.
____________________________________________________________ Bibliography
Bakhtin, Mikhail (1984) Rabelais and His World (Bloomington, Indiana University Press).
Ballard, J.G. (1970) The Atrocity Exhibition (London, Jonathan Cape).
Ballard, J.G. (1972) Love and Napalm: Export U.S.A. (New York, Grove Press). Barthes, Roland (1970) ‘The Third Meaning: Research notes on some Eisenstein
stills’ in Heath (1977), pp. 52-68.
Brecht, Bertolt (1955) Kriegsfibel (East Berlin, Eulenspiegel Verlag,1955). Dietcher, David (1998) ‘Lost and Found’ in Tillmans (1998), np.
Evans, David (2007b) ‘Photojournalism in Flux?’ Afterimage 35:1 (July / August, 2007), pp. 32-34.
Evans, David (2009) ‘Lighter Tillmans’, Extra 3 (Summer), pp. 55-61. Friedrich, Ernst (1925) Krieg dem Kriege! (Berlin, Verlag freie Jugend).
Hall, Stuart, Jefferson, Tony, eds (1976) Resistance through Rituals: Youth
subcultures in post-war Britain (London, Hutchinson).
Halley, Peter (2002) ‘Peter Halley in conversation with Wolfgang Tillmans’ in Verwoert el al (2002), pp. 6-33.
Image & Narrative, Vol 11, No 4 (2010) 111 Heath, Stephen, ed (1977) Roland Barthes: Image Music Text (London, Fontana).
Jäger, Joachim (2008) ‘Labyrinth of Truths: Wolfgang Tillmans’s Major Project
Truth Study Center’ in Tillmans (2008), pp. 35-39.
Jünger, Ernst (1932) Die veränderte Welt: Eine Bilderfibel unserer Zeit (Breslau, Korn).
Obrist, Hans Ulrich, Tillmans, Wolfgang (2007) Wolfgang Tillmans / Hans Ulrich
Obrist – The Conversation Series 6 (Cologne, Verlag der Buchhandlung Walther
König).
Peress, Gilles (1994) Farwell to Bosnia (Zurich, Scalo).
Peress, Gilles, Stover, Eric (1998) The Graves: Srebrenica and Vukovar (Zurich, Scalo).
Ristelhueber, Sophie (1992) Fait (Paris, éditions Hazan).
Ristelhueber, Sophie (1992) Aftermath (London, Thames & Hudson).
Ristelhueber, Sophie (2001) Details of the World (Boston, Museum of Fine Arts). Sheikh, Fazal (1998) The Victor Weeps – Afghanistan (Zurich, Scalo).
Staeck, Klaus (1971) Staeck: Pornografie (Frankfurt am Main, Edition Kölling), Stoeckl, Allan, ed (1985) Georges Bataille Visions of Excess: Selected
Writings,1927-1939 (Minneapolis, University of Minnesota Press).
Tillmans, Wolfgang (1998) Burg (Cologne, Taschen Verlag).
Tillmans, Wolfgang (1999) Soldiers: The Nineties (Cologne, Verlag der Buchhandlung Walther König).
Tillmans Wolfgang (2008) Lighter (Hatje Cantz Verlag, Ostfildern).
Tucholsky, Kurt, Heartfield, John (1929) Deutschland, Deutschland über alles (Berlin, Neuer Deutscher Verlag, 1929).
Verwoert, Jan (2002) ‘Picture Possible Lives: The Work of Wolfgang Tillmans in Verwoert et al (2002), pp. 34-89.
Verwoert, Jan, Halley, Peter, Matsui, Midori (2002) Wolfgang Tillmans (London, Phaidon Press).
Image & Narrative, Vol 11, No 4 (2010) 112 Biographical note:
David Evans teaches the history and theory of photography at the Arts University College at Bournemouth, England. Publications include the catalogue raisonné John
Heartfield: AIZ / VI 1930-38 (Kent Fine Art, New York, 1992) and the anthology Appropriation (Whitechapel, London / MIT Press, Cambridge, Mass., 2009). He is
secretary of the online photography magazine criticaldictionary.com. devans@aucb.ac.uk
