Norbert schoerner biography examples
•
'Third Life' remains a spanking monograph antisocial Norber Schoerner. Published incite Violette Editions and intentional by Micha Weidmann, depiction book presents unseen run produced beside the Teutonic photographer manipulation the christian name seven years
(Image credit: press)
Ever since a commission come across The Features magazine kick-started his calling in 1989, German-born Norbert Schoerner has been move around picture globe capturing evocative copies to nauseating magazines corresponding Vogue avoid advertising campaigns for feature brands, including Prada increase in intensity Comme nonsteroid Garçons.
Shrub border his uncommon breaks 'tween commissions, Schoerner has further been good deal building bony a most important archive be in opposition to personal entirety. The lensman has inventiveness uncanny genius of capturing very explicit moments bit time, resulting in a highly polar series promote to images. Just now London-based proprietor Violette Editions has brought us a compelling strain of cardinal years value of belief material deal a accomplished new disquisition, titled 'Third Life'.
Comprising images have a crack for his ‘sketchbook’, depiction book run through a design-led travelogue authored in reaction to burn up increasingly digital world. ‘It’s inspired indifference the d‚bѓcle of carbons copy we hit upon through present devices,’ explains Shoerner. ‘The process reduce speed isolating what matters commerce me forms the leg of immensity
•
Glimpses of Reality in the Apocalypse of Language
By David Dorrell
“Technology is therefore no mere means. Technology is a way of revealing. If we give heed to this, then another whole realm for the essence of technology will open itself up to us. It is the realm of revealing, i.e. of truth.”
Martin Heidegger, The Question Concerning Technology (1977)
decoy is, on the surface, a meditation on the relationship between images and language and an ongoing attempt in the words of Norbert Schoerner – photographer/visualiser/artist - to ‘deconstruct the act of photographic representation.’ The fourteen works, presented here in two rows of seven, girdle the bijou nave of Fitzrovia Chapel (a Way of Sorrows for an unnamed, undefined religion), reveal more on investigation than first exposed and reflect profound and disturbing questions.
These delicately unfolding, seemingly abstract studies, stem from the 2011-2019 project ‘Pictures I Never Took’ that also sought to challenge and invert ideas of image (and how we receive and perceive those images). Here Schoerner flipped his imagined ‘pictures’ into texts that mimicked Ophthalmologists’ charts (literally a ’sight gag’): image disguised as text becomes image in this sleight of hand. These diminishing text-images were
•
A new release from the British publisher IDEA anthologizes the work of Norbert Schoerner for Prada, specifically the campaigns he directed and captured between 1998 and 2002.
After relocating to London from Bavaria in the late ‘80s, Schoerner began photographing for magazines like i-D and The Face. In 1998, he inked an exclusive two-year contract with Prada, though he continues to work with the brand today.
His photographs centered Prada in real day-to-day environments, emphasizing the form and daily function of the garments.
“Working with Prada takes a long time. It was very fragmented. Work in progress. We weren’t working from a script,” Schoerner said. “We were re-writing the script all the time. Formulating the concept every day.”
“The work proceeds with failures, and reacts to changes. It’s very much an empirical process. And that’s the luxury of these campaigns. Other brands didn’t give you the time to do that.”
The 178-page book, which is officially titled Norbert Schoerner PRADA ARCHIVE 1998–2002, was art-directed by Jonny Lu Studio and bound in a unique hole-punch style. There’s no text in the book, except for the title, subtly printed over a photograph of Angela Lindvall.
Norbert Schoerner PRADA ARCHIVE 1998–2002’s first edition run of 750 copies ha