joel sternfeld education


Pederson, Martin C. “From Here to Utopia.” Metropolis, June 2006: 148-153. 5 (Fall/Winter 2014): 402-403. Baggage Claims. “Amerika auf der Sper.” Süddeutsche Zeitung, 11 July 2011. cat., 8-9. Riverside, CA: University of California, 1983. “Joel Sternfeld: Experimental Utopia in America.” archphoto.it, 2007. http://archivio.archphoto.it/2007/09/26/joel-sternfeld_experimental-utopia-in-america.

Erst die vom Künstler verfassten knappen, nüchternen Texte klären darüber auf, dass es sich um Tatorte handelt: frische Blumen an der Stelle auf dem Rasen eines Klinikgebäudes, wo ein Arzt zusammenbrach, tödlich getroffen von Kugeln eines fanatischen Abtreibungsgegners; ein Kranz am Geländer des Balkons, auf dem Martin Luther King 1968 erschossen wurde – solche indirekten Hinweise in den Bildern selbst sind die Ausnahme. Chicago: Art Institute of Chicago, 2013. Wolinski, Natacha. “Joel Sternfeld: A Modern Master’s First Pictures.” Time Lightbox [blog], 12 October 2011, http://time.com/3781693/joel-sternfeld-a-modern-masters-first-pictures/. Woodward, Richard B.
Ezard. J. ohnson, Brooks. cat., 142-145. Boulder: Boulder Museum of Contemporary Art, 2007. Osfildern: Hatje Cantz, 2007. Crisell, Hattie. “A Call to Colors.” Newsweek Magazine, 23 November 1981: 115-116. Modern Photography 39, no. “No Retrospective! Eauclaire, Sally. Crowley, Jennifer. Häntzschel, Jörg. “A Career in Pictures.” Art and Auction, February 2005: 86–88. Woodward, Richard B. cat., 32-37.

Wolfe, Ann M. Suburban Escape: The Art of California Sprawl, 38.

New York Times, 2 October 2005: 35. Gurganus, Allan. “On This Site: Landscape in Memoriam.” Australian PhotoJournalist 7, no. Seine Sammlung von scheinbar harmlosen, alltäglichen Szenerien, denen man ihre gewalttätige Vergangenheit nicht ansieht, will zum Nachdenken anregen – über die alltägliche Gewalt, über die Unzulänglichkeit unserer Wahrnehmung und die Leichtigkeit des Vergessens. Hummer, Tracey C. “High Hopes for the High Line.” Art in America, October 2001: 192. Golden, Reuel. “Portfolio.” foam, no. Kerouac, Jack. “A House is not a Home.” Newsweek, 21 October 1991: 62-63. cat.

American Dreams, exh. Loke, Margarett. “Soothing Portrait of America.” The Record, 20 October 1981. The Art of Photography 1839-1989, exh. London: Thames and Hudson, 2014. Rushton, Susie. Chadwick, Susan. 1 (January 1982): 27, 31. XL Photography 3: Art Collection Deutsche Börse, 100-101. Lüddemann, Stefan. Karmel, Pepe. “American Beauty.” Art.net, 5 August 2011.

Zurich: Scalo, 2001. “Joel Sternfeld im Museum Folkwang.” Kulterkenner.de, August 2011. Plagens, Peter. [10], Kunstforum International, Bd.

“Photography View; A New Era of Image-Making.” New York Times, 30 December 1984.

Douglas, Sarah. Sternfeld zeigt die USA ähnlich einem Walker Evans 40 Jahre zuvor. Modern Photography 41, no.7 (July 1977): 75. Munich: Prestel , 2002. Grundberg, Andy. Edwards, Steve. “Photobook.” Photograph, March/April 2004: 52. “Joel Sternfeld, Luhring Augustine.” Artforum, April 2004: 158. The Open Road: Photography and the American Road Trip, exh.

The New Color Photography, 122, 144, 166–75. [5], Die Landschaft südlich und östlich von Rom um das claudische Aquädukt herum steht im Zentrum der Werkgruppe. Berlin: Haus am Waldsee, 1999. Magical Surfaces: The Uncanny in Contemporary Photography, exh. cat., 40, 49, 68, 69. The West of the Imagination, 509. cat. Christchurch, New Zealand: Pegasus Press, 1972. Fort Lauderdale: NSU Art Museum Fort Lauderdale, 2014.
22 (1 June 1987): 12. Gefter, Philp. Vanishing Landscapes (Verschwindende Landschaften), 158–67. Seville: Caja San Fernando, 2007. Stephen Shore, 92, 114-121. Steidl Publishers, 2010.

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