1. Joachim Brohm: Ohio
Above Ohio 1983-1984. (Courtesy of Steidl).
 Amongst the first of a younger generation of German photographers to begin working in colour, Joachim Brohm arrived in the United States in 1983, and produced his Ohio series on daily walks. Like his earlier body of work Ruhr, produced in the late 1970s in Germany’s declining industrial heartland, we see that Brohm’s photography has more similarities with that of Stephen Shore, or Joel Sternfield for example, than with what we have come to consider ‘German’ photography, as practiced by the likes of Bernd and Hilla Becher, and others from the ‘Dusseldorf School.’
There is freshness to Brohm’s photographs, with a clear visual aesthetic, through which we can see his connection to both the landscape photography of the 19th century and the ‘New Topographic’ approach of the 1970s. 
 Ohio is published by Steidl.

    Joachim Brohm: Ohio

    Above Ohio 1983-1984. (Courtesy of Steidl).

    Amongst the first of a younger generation of German photographers to begin working in colour, Joachim Brohm arrived in the United States in 1983, and produced his Ohio series on daily walks. Like his earlier body of work Ruhr, produced in the late 1970s in Germany’s declining industrial heartland, we see that Brohm’s photography has more similarities with that of Stephen Shore, or Joel Sternfield for example, than with what we have come to consider ‘German’ photography, as practiced by the likes of Bernd and Hilla Becher, and others from the ‘Dusseldorf School.’

    There is freshness to Brohm’s photographs, with a clear visual aesthetic, through which we can see his connection to both the landscape photography of the 19th century and the ‘New Topographic’ approach of the 1970s.

    Ohio is published by Steidl.

Notes

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