Cover image for The promise of photography : the DG Bank collection
The promise of photography : the DG Bank collection
Sabau, Luminita.
Uniform Title:
Versprechen der Fotografie. English.
Publication Information:
Munich ; New York : Prestel, 1998.
Physical Description:
388 pages : illustrations (some color) ; 31 cm
General Note:
"Published on the occasion of the exhibition ... held at the following venues: Hara Museum of Contemporary Art, Tokyo, October 1998-January 1999; Kestner-Gesellschaft, Hanover, March-May 1998; Centre National de la Phortographie, Paris, June-August 1999; Akademie der Künste, Berlin, January-March 2000; Schirn Kunsthalle Frankfurt, Frankfurt am Main, January-March 2001"--Colophon.
Format :


Call Number
Material Type
Home Location
Item Holds
TR650 .V4713 1998 Adult Non-Fiction Central Closed Stacks-Oversize

On Order



The photographic works of painters and sculptors and the versatile interaction of photography with other art forms are the focus of this unique compilation from one of the world's largest private photographic collections.

Reviews 2

Library Journal Review

These two volumes, each published to promote superb collections of contemporary photography, proselytize on behalf of the subject and thus complement each other perfectly in both style and content. The Museum of Contemporary Photography at Columbia College, Chicago, began assembling a collection in 1982 with the aim of promoting the field and examining the work, particularly of American photographers of the 1960s through the present. The collection is also of note because its curators give equal weight to all the medium's roles: as aesthetic endeavor, as journalistic and historic record, as a tool of corporations in media and advertising, and as scientific instrument. Appropriately, the book is composed primarily of four long essays by leading writers examining each of these roles; interspersed generously throughout are more than 160 images from the collection with long captions that can be read independently or in connection with the surrounding essay. This celebration of the DG Bank Collection presents more than 210 photographs by 135 artists and accompanies a show traveling in Europe and Japan over the next two years. This is a small portion of DG's 3000 works by 300 artists, all amassed in the last five years under the direction of Sabau, the collection's curator. As such, the clear emphasis is on photographers of the 1990s, and, because it is a German institution, the selections are more international than one sees in most American surveys. After three short essays, the majority of the book is given to carefully written single-page essays on each artist followed by one to four examples of his or her work. The organization is alphabetical by name. Both books close with extensive biographical sections that serve as wonderful reference sources. All libraries should consider Photography's Multiple Roles; larger institutions and subject collections will also want The Promise of Photography.ÄEric Bryant, "Library Journal" (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Choice Review

This traveling exhibition catalog (1999-2001) from the DG Bank collection (Germany) is a fine stew of good and awful (poor translations?) writing (introductory statements, three essays, one-page entries by 38 writers for 135 International artists who are mostly Western, mostly represented by one reproduction). Whoever built the collection has taken a courageous stance. Many works are politically charged and critical of the establishment (banks included). Most are from the 1990s; the span is 1970s-90s with a handful from the '50s and '60s. Not surprisingly, those most referenced in various texts are the theorist Walter Benjamin and the artist Jeff Wall (not otherwise represented here). Virilio's essay is the most obscure, Groys's is the most relevant to the collection, and Krauss's is predictable ("It is as a theoretical object that photography assumes the revelatory power to set forth the reasons for a wholesale transformation of art . . . [since the 1960s]"). Her case study is of an artist not represented here. This handsomely produced volume does reflect the variety of art caused by photography's multifaceted entries into the larger art world of the last 30 years. The range is from "straight" (Salgado and Goldin) to "experimental" (Polke and Turrell). General readers; undergraduates through faculty. C. Chiarenza; emeritus, University of Rochester