[{"@context":"http:\/\/schema.org\/","@type":"BlogPosting","@id":"https:\/\/wiki.edu.vn\/en\/wiki21\/gottfried-jager-wikipedia\/#BlogPosting","mainEntityOfPage":"https:\/\/wiki.edu.vn\/en\/wiki21\/gottfried-jager-wikipedia\/","headline":"Gottfried J\u00e4ger – Wikipedia","name":"Gottfried J\u00e4ger – Wikipedia","description":"before-content-x4 German photographer and theorist of photography after-content-x4 Gottfried J\u00e4ger (born 13 May 1937 in Magdeburg) is a German photographer,","datePublished":"2020-02-04","dateModified":"2020-02-04","author":{"@type":"Person","@id":"https:\/\/wiki.edu.vn\/en\/wiki21\/author\/lordneo\/#Person","name":"lordneo","url":"https:\/\/wiki.edu.vn\/en\/wiki21\/author\/lordneo\/","image":{"@type":"ImageObject","@id":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","height":96,"width":96}},"publisher":{"@type":"Organization","name":"Enzyklop\u00e4die","logo":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":600,"height":60}},"image":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":100,"height":100},"url":"https:\/\/wiki.edu.vn\/en\/wiki21\/gottfried-jager-wikipedia\/","wordCount":6435,"articleBody":"     (adsbygoogle = window.adsbygoogle || []).push({});before-content-x4German photographer and theorist of photography       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4Gottfried J\u00e4ger (born 13 May 1937 in Magdeburg) is a German photographer, photo-theorist and former university teacher.Table of Contents       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4Biography[edit]Artwork[edit]Reception[edit]Exhibitions[edit]Solo[edit]Group[edit]Books and exhibition catalogues[edit]Bibliography[edit]Work in collections[edit]Literature about[edit]References[edit]External links[edit]Biography[edit]Gottfried J\u00e4ger, son of photographer Ernst J\u00e4ger (1913-1998), learned the craft of photography in the years 1954 to 1958 with the master photographer Siegfried Baumann in Bielefeld, receiving his apprenticeship qualification in 1957. He then studied technical photography at the Staatliche H\u00f6here Fachschule f\u00fcr Photographie in Cologne, graduating in 1960 from the master craftsman exam.[1] There he discovered a work by the early pioneer of computer art, Herbert W. Franke’s 1957 Kunst und Konstruktion.[2] Its subtitle, Physik und Mathematik als fotografisches Experiment (Physics and Mathematics as a Photographic Experiment) became J\u00e4ger’s credo, an approach that he maintained throughout his career.[3]In 1960, J\u00e4ger accepted a position as a technical teacher of photography at the Werkkunstschule Bielefeld and established the medium as a basic discipline there. In 1972, this led to the founding of  Photo\/Film Design as a specialisation at the University of Applied Sciences Bielefeld, with contemporary photography and media studies. In the same year, J\u00e4ger was appointed Professor of Photography and Film at the University of Applied Sciences Bielefeld in the subject areas Artistic Foundations of Photography, Photography and Generative Image Systems. In 1984 he founded the research focus (FSP) Photography and Media with the annual Bielefeld photo symposia.[4] From 1998-2002, J\u00e4ger was Visiting Professor at the Royal Melbourne Institute of Technology (RMIT) Melbourne, returning in 2009 to join in a symposium About Photography II with David Martin, Salvatore Panatteri, Emidio Puglielli[5] and Patricia Todarello, September 12 \u2013 October 4.[6]In 2002 he retired from Bielefeld and was given the emeritus status. On the occasion of his retirement, the institution praised J\u00e4ger’s decisive contribution to photography being “given equal status with the arts of painting and sculpture. As early as 1968, he defined the claim of photography as an art form with the term ‘Generative Photography’, which stands for a systematic-constructive direction in artistic photography.”[7] Incidentally, it was not until 1984 that photographs had become legally works of visual art according to German copyright law.J\u00e4ger was for eight years Dean of the Faculty of Design and from 1993-1997 Vice President for research and development tasks of the FH Bielefeld. Since 2008 he is a member of the University Council of FH Bielefeld; he is a member, honorary member and has been the chairman of many photographic associations for many years (DFA, DGPh, BFF, FFA). In 1992 he received the George Eastman Medal of Kodak AG Germany; 1996 the David Octavius Hill Medal of the German Photographic Academy (DFA).       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4In 2011, J\u00e4ger defended his PhD dissertation on the photographic work of Carl Str\u00fcwe in a thesis Photomicrography as Obsession: The Photographic Work of Carl Str\u00fcwe (1898-1988) at the Faculty of Linguistics and Literature of the University of Bielefeld.Artwork[edit]From the beginning of his teaching at the Werkkunstschule Bielefeld J\u00e4ger created experimental photographic works, such as the Themes and Variations from 1960 to 1965. In each case a single image with different photographic design parameters is serially, controlled and varied step by step. The sometimes extensive series of images ultimately lead to photo compositions in the sense of Concrete Art, whose works dispensed with representation in favour of the free image as invention. An example of this are 21 light graphics that J\u00e4ger created in 1964 as figurative equivalents to the text “novel” of the German writer Helmut Hei\u00dfenb\u00fcttel .One of J\u00e4ger’s inspirations was computer scientist Karl Steinbuch’s 1961 book Automat und Mensch, an early discussion of artificial intelligence which proposed that a technical apparatus, a camera or a computer, were capable of achieving intellectual results and aesthetic products. The text was brought to his attention in the mid-60s by Hein Gravenhorst, a friend and fellow artist in generative photography, whom he had met through Manfred Kage. Gravenhorst and Kage were together making their own “polychromatic variations.”[3]In 1965 J\u00e4ger was invited to show his “Lichtgrafiken” (light graphics) at the group show Fotografie ’65 in Bruges,[8] an exhibition of rarely experimental and often abstract photography that was conceptually opposite to that organized by Karl Pawek, also then showing in Bruges; the documentary Weltausstellung der Photographie: Was ist der Mensch (‘World Exhibition of Photography: What is Man’).[3]In 1968, Gottfried J\u00e4ger introduced the term Generative Photography as means of constructing photography on a systematic-constructive basis in the title of an exhibition of the Bielefelder Kunsthaus.[9] Apart from his own, works by Kilian Breier, Pierre Cordier and Hein Gravenhorst were also included. The title, which was also approved by Franke, draws on the idea of generative aesthetics (1965) of the German philosopher Max Bense promulgated in the last chapter of his Aesthetica titled ‘Projekte generativer \u00c4sthetik’;[10]Generative aesthetics is an aesthetic by creation. It allows a methodical creation of aesthetic states by dissecting the creation into a finite number of specifiable and describable single steps.Thus works of Generative Photography are a rational, apparatus-driven art confluent with the emerging computer age that follow a programmed design that applies mathematical and numerical parameters to artistic projects, and which equally entails development of ‘concrete’ artistic approaches. A favourable reception of the exhibition in the press was repeated by Otto Steinert during a meeting in the exhibition space of the Deutsche Gesellschaft f\u00fcr Photographie (German Society for Photography). Follow-up exhibitions around this topic took place at Galerie Spektrum in Hanover, in Antwerp, and elsewhere.J\u00e4ger defined the Generative Photography process as one of  \u201cfinding a new world inside the camera and trying to bring it out with a methodical, analytical system.\u201d[11] J\u00e4ger elaborates; “[my] image is the concretion of the technique from which it arises, […] it is technique that has become art. The technique has become art. The technique is art.”[12]An expression of this is the series of works by Gottfried J\u00e4ger from the years 1967 to 1973: about 200 black-and-white and coloured light graphics on the basis of a point of light, which by means of a multiple-pinhole camera that he invented to generate geometrically determined structures.[13][14]In his camera photographs of natural and technical objects from 1971 to 1991, J\u00e4ger consistently pursues the serial principle of logical sequences. In a series titled Arndt Street (1971), he used the predetermined system of photographing only corners in two-point perspective, which he described simply as, \u201cA photographic documentation of the development of a street depicted through examples of corner buildings.\u201dIn his group of luminogram works Colour Systems of the early 1980s, photographic paper no longer appears as a picture carrier but as an object of the artistic process. This resulted in photo objects, photo installations and installations in museums and galleries. They follow not so much a programmed procedure in the sense of generative photography as spontaneous inspiration in dealing with the peculiarities of the photographic material, such as its imaging properties, its peculiar surfaces and its distinct plastic qualities. For their titles, photography terms like Graukeil (‘Greyscale 1983), Lichteinfall (‘Incident Light’, 1985), “Fotoecken” (Photo-corners, 1985) or “Bild” (View, 2000) are used.From 1994, digital media were used to create “mosaics” and from 1996 “generative images”. Both groups of works are inspired and derived from the optical program of the pinhole structures, but they modify it through digitization and lead to their own forms. The “Snapshots” (2003), comparable to the photographic snapshot, are ‘snaps’ from the infinite cosmos of the computer – but still on a geometrical-constructive basis. Recent works under the series title “Photos” (2004) thematise “photographicisms”. As such, phototypical aesthetic appearances can be seen – but in this case they are no longer photographically generated, but computer generated and executed (Digigraphics\u2122).Reception[edit]J\u00e4ger’s oeuvre has been seen in over 30 solo exhibitions internationally including Germany, Switzerland, Belgium, Poland, USA, and Australia, but especially significant is his early inclusion in iconic exhibitions of technological and computer art of the 1960s: Experiments in Art and Technology at the Brooklyn Museum, (1968); New Tendencies in Zagreb (1969); and the exhibitions of On the Path to Computer Art that were shown in Germany, Switzerland, Japan, Brazil, France, and England between 1970 and 1976.[15]J\u00e4ger has authored over thirty books including texts in English: The Art of Abstract Photography (2002), Can Photography Capture our Time in Images? A Time-Critical Balance (2004), Concrete Photography (2005) and Light Image and Data Image: Traces of Concrete Photography (2015) and nine J\u00e4ger monographs have been published since 1964.Exhibitions[edit]Solo[edit]1964 Gottfried J\u00e4ger. Photographs, light graphics. Art Salon Otto Fischer, Bielefeld.1975 Gottfried J\u00e4ger. Apparative graphics. Gallery Le Disque Rouge, Brussels.1982 Gottfried J\u00e4ger. Light images. Generative work. Fotomuseum in the Munich City Museum.1986 Gottfried J\u00e4ger. Generative photo works. Gallery Photo-Medium-Art, Wroclaw1990 Gottfried J\u00e4ger. Photo paper works photo installations. Gallery Anita Neugebauer, Basel.1994 Gottfried J\u00e4ger. Interface: Generative work. Bielefelder Kunstverein, Museum Waldhof, catalogue.1995 Gottfried J\u00e4ger. Photo Paper Works. Michael Senft – One Bond Gallery, New York.1998 Gottfried J\u00e4ger. Photography. Gallery Arrigo, Zurich.1999 Gottfried J\u00e4ger. Melbourne Experience. VISCOM 9 Gallery, Dep. Visual Communication, RMIT University (Royal Melbourne Institute of Technology).2000 Gottfried J\u00e4ger. Generative Images. Lutz Teutloff Gallery, Bielefeld, catalogue.2006 Gottfried J\u00e4ger and his collection of Concrete Photography. 16th Gmundner symposium on contemporary art, Gmunden, Austria, book documentation.2011 Gottfried J\u00e4ger: consequences of consequences of consequences of consequences of consequences. Concrete photography. Photo Edition Berlin.Group[edit]1965 Fotograph ’65. Experimental European photography. Huidevettershuis, Bruges, catalogue.1966 Photography between science and art. Photokina, Cologne, catalogue.1968 Generative Photography. Kilian Breier, Pierre Cordier, Hein Gravenhorst, Gottfried J\u00e4ger. St\u00e4dt. Kunsthaus Bielefeld, catalogue.1969 Experiments in Art and Technology. Brooklyn Museum, New York, catalogue.1969 Nova tendcija 4. (New artistic tendencies). Muzej za umjetnost i obrt, Zagreb, catalogue.1970-1976 Paths to computer art. Traveling exhibition of the German Goethe-Instituts, including Berlin (IDZ), Zurich (ETH), Goethe-Institute Tokyo, S\u00e3o Paulo, Brasilia, Rio de Janeiro, Bordeaux (SIGMA 9, 1973), Marseille, Angers: London (Polytechnic of Central) etc., catalogues.1975 Generative Photography: Pierre Cordier, Karl Martin Holzh\u00e4user, Gottfried J\u00e4ger. Internationaal Cultureel Center Antwerp, catalogue.1980 German photographers after 1945. Kunstverein Kassel 1979; PPS Gallery Hamburg 1980; Overbeck-Gesellschaft L\u00fcbeck, catalogue.1982 5th International Biennale Advanced Photography. Vienna Secession, Vienna, catalogue.1984 Lensless Photography. The Franklin Institute Science Museum, Philadelphia, 1983, catalogue; IBM Gallery, New York, Prospect.1986 Positions of experimental photography. Bielefeld. Kunsthalle Bielefeld, catalogue.1989\/1990 The photograph as an autonomous picture. Experimental Design 1839-1989. Kunsthalle Bielefeld, 1989; Bavarian Academy of Fine Arts, Munich, catalogue.1989\/1990 Document and Invention: photographs from the Federal Republic of Germany 1945 to today. German Photographic Academy GDL, Berlin, Freiburg i. Br. 1989; Philadelphia 1990, catalogue.1991 Appearance and Time: photography in a generative context (with Markus J\u00e4ger). Photo gallery Bild, Baden, Switzerland, brochure.1994 Future of Korean Photography. Seoul (Korea), catalogue.1995 L\u00e1szl\u00f3 Moholy-Nagy: idea and effect. Echoes of his work in contemporary art. Kunsthalle Bielefeld, catalogue.1996 La corn de la licorne: Alchemy optique. Rencontres de la Photographie, Arles, France, catalogue.2000 Abstract photography. Kunsthalle Bielefeld, catalogue.2002ff. Concrete art in Europe after 1945. Collection Peter C. Ruppert. Museum in Kulturspeicher W\u00fcrzburg, permanent exhibition, catalogue.2006 Photography Concrete – Concrete Photography. Shaping with light without camera. Museum in the cultural memory W\u00fcrzburg. Book Concrete Photography \/ Concrete Photography, Bielefeld, 2005.2006 Gottfried J\u00e4ger und seine Sammlung Konkrete Fotografie with Dawid, Heinz Hajek-Halke, Heinrich Heidersberger, Peter Keetman, Uwe Meise, Floris Neus\u00fcss,  Jaroslav R\u00f6ssler  & others, VKB-Galerie, Gmunden2007 The New Tendencies. A European artist movement 1961-1973. Museum of Concrete Art Ingolstadt, catalogue.2007\/2009 Bit international – Nove tendencije. Computer and visual research. Zagreb 1961-1973. Graz: New Gallery at the Landesmuseum Joanneum, 2007; Karlsruhe: ZKM, 2009, catalogues.2009 Karl Martin Holzh\u00e4user, Gottfried J\u00e4ger: Real appearance. Works 2008. Epson Kunstbetrieb D\u00fcsseldorf, catalogue.2010 Konkr\u00e9t Fot\u00f3, Photogram. Vasarely M\u00faseum Budapest, catalogue.Books and exhibition catalogues[edit]Herbert W. Franke, Gottfried J\u00e4ger: Apparative Art. From the kaleidoscope to the computer. Cologne: Publisher M. DuMont Schauberg, 1973, ISBN\u00a03-7701-0660-1.Gottfried J\u00e4ger, Karl Martin Holzh\u00e4user: Generative Photography. Theoretical foundation, compendium and examples of a photographic image design. Ravensburg: Otto Maier publishing house, 1975, ISBN\u00a03-473-61555-2.Str\u00fcwe, C., J\u00e4ger, G., Kunsthalle Bielefeld., & Kulturhistorisches Museum Bielefeld. (1982). Retrospektive Fotografie. Place of publication not identified: Edition Marzona.Gottfried J\u00e4ger (editor), J\u00f6rg Bostr\u00f6m, Karl Martin Holzh\u00e4user: Against the indifference of photography. The Bielefeld Symposia on Photography 1979-1985. Contributions to the aesthetic theory and practice of photography. University of Applied Sciences Bielefeld. Dusseldorf: Edition Marzona, 1986, ISBN\u00a03-921420-27-X.Gottfried J\u00e4ger: Imaging Photography. Fotografik light graphic light painting. Origins, concepts and specifics of an art form. Cologne: DuMont book publishing house, 1988, ISBN\u00a03-7701-1860-X.Gottfried J\u00e4ger (ed.): Bielefeld photo life. Small cultural history of photography in Bielefeld and the region 1896-1989. Developments in craft, press, design, art and college. Bielefeld, Dusseldorf: Edition Marzona, 1989, ISBN\u00a03-921420-36-9.Gottfried J\u00e4ger: Photo aesthetics. The theory of photography. Texts from the years 1965 to 1990. Munich: Publisher Laterna magica, 1991, ISBN\u00a03-87467-466-5.Gottfried J\u00e4ger: Indices. Generative work 1967-1996. Three projects. Published by Claudia Gabriele Philipp on the occasion of the awarding of the David Octavius Hill Medal 1996 of the German Photographic Academy in conjunction with the Art Prize of the City of Leinfelden-Echterdingen. Bielefeld: Kerber publishing house, 1996, ISBN\u00a03-924639-62-0.Gottfried J\u00e4ger, Gudrun Wessing (ed.): On l\u00e1szl\u00f3 moholy-nagy. Results of the International L\u00e1szl\u00f3 Moholy-Nagy-Symposium, Bielefeld, 1995. On the 100th birthday of the artist and Bauhaus teacher. Bielefeld: Kerber Verlag, 1997, ISBN\u00a03-924639-77-9.Andreas Dress, Gottfried J\u00e4ger (ed.): Visualization in Mathematics, Science and Art. Basics and Applications. Braunschweig, Wiesbaden: Vieweg publishing house, 1999, ISBN\u00a03-528-06912-0.Gottfried J\u00e4ger (ed.): Photography thinking. About Vil\u00e9m Flusser’s Philosophy of Media Modernity. Bielefeld: Kerber publishing house, 2001, ISBN\u00a03-933040-42-6.Gottfried J\u00e4ger (ed.): The Art of Abstract Photography \/ The Art of Abstract Photography. Stuttgart, New York: Arnoldsche Art Publishers, 2002, ISBN\u00a03-89790-015-7.J\u00f6rg Bostr\u00f6m, Gottfried J\u00e4ger (ed.): Can photography capture our time in pictures? A Time Critical Record \/ Can Photography Capture our Time in Images? A time-critical balance. 25 Years Bielefeld Symposia on Photography and Media 1979-2004 \/ 25 Years Bielefeld Symposia about Photography and Media 1979-2004. Bielefeld: Kerber publishing house, 2004, ISBN\u00a03-936646-69-4.Gottfried J\u00e4ger, Rolf H. Krauss, Beate Reese: Concrete Photography \/ Concrete Photography. Bielefeld: Kerber publishing house, 2005, ISBN\u00a03-936646-74-0.Gottfried J\u00e4ger: Ernst J\u00e4ger. Photographer. Castle: Dorise Verlag, 2009, ISBN\u00a0978-3-937973-75-3.Martin Roman Deppner, Gottfried J\u00e4ger (ed.): Denkprozesse der Fotografie. 30 years of Bielefeld photo symposia 1979-2009. Contributions to image theory. Bielefeld: Kerber Verlag, 2010, ISBN\u00a0978-3-86678-366-9.Gottfried J\u00e4ger: Photomicrography as an obsession. The photographic work of Carl Str\u00fcwe (1898-1988). Dissertation. Bielefeld: Verlag f\u00fcr Druckgrafik Hans Gieselmann, 2011.Bibliography[edit]Herbert W. Franke: ‘A bridge between art and technology: The apparatus graphics of Gottfried J\u00e4ger’. In: Magazin Kunst (Mainz), No. 1\/1975, p.\u00a0123.Petr Tausk: ‘Op Art and Photography. About pinhole structures by Gottfried J\u00e4ger.’ In: The History of Photography in the 20th Century. Cologne: DuMont book publishing house, 1977, P. 165-166.Wolfgang Kemp: ‘Gottfried J\u00e4ger: Generative Photography.’ In: Theory of Photography III. 1945-1980. Munich: Schirmer \/ Mosel, 1983, pp.\u00a0458\u2013460.Walter Koschatzky: ‘Generative Photography. G. J\u00e4ger’s principles lead to masterful achievements.’ In: The Art of Photography. Technology, history, masterpieces. Salzburg, Vienna: Residenz Verlag, 1984, p.\u00a0367, 422-423. Reprint: dtb, 1987, pp.\u00a0260\u2013261.Eric Renner: ‘Pinhole Revival in Art: The 1960s and 1970s. Gottfried J\u00e4ger proclaims …’ In:  Pinhole Photography. Rediscovering a Historic Technique. Boston, London: Focal Press, 1995, pp.\u00a050\u201352.Gerhard Gl\u00fcher: ‘Blurred Contours, Whispering Contours’. In: NIKE New Art in Europe (Munich), No. 53\/1995, pp.\u00a036\u201337.Gerhard Gl\u00fcher: Gottfried J\u00e4ger: photo-sculptural objects, Marburg 1989.Manfred Strecker: ‘Photography becomes sheer art. The era of Gottfried J\u00e4gers at the Department of Design ends with the 25th Bielefeld Symposium on Photography and Media.’ In: Neue Westf\u00e4lische (Bielefeld), November 29, 2004.Anais Feyeux: La Generative Photography. Entre d\u00e9mon de l’exactitude et rage de histoire. In: \u00c9tudes photographiques. Revue semestrial. No. 18\/2006, p.\u00a052-71. Paris: Soci\u00e9t\u00e9 Francaise de Photographie, ISBN\u00a02-911961-18-8.Klaus Honnef: Gottfried J\u00e4ger. Imaging systems. Concrete photography. In: Gisela Burkamp (ed.): Kunstverein Oerlinghausen, Bielefeld: Kerber Verlag, 2006, pp.\u00a052\u201357.Puglielli, Emidio (2006), An investigation of the relationship between the material and illusionary aspects of the photograph[19]Andreas Krase: Gottfried J\u00e4ger. Pinhole structures and mosaics. In: ders. (Ed.): True-sign. Photography and Science,   catalogue, Technical Collections \/ Museums of the City of Dresden, 2006, pp.\u00a028\u201331.Andreas Beaugrand (ed.): Gottfried J\u00e4ger. Photography as a generative system. Pictures and texts 1960-2007. Bielefeld: Verlag f\u00fcr Druckgrafik Hans Gieselmann, 2007, ISBN\u00a0978-3-923830-60-2.Gudrun Wessing: An Experimental Photo Life. Gottfried J\u00e4ger has taken the limits of photography. In: TOP magazine Bielefeld, No. 4\/2008, pp.\u00a0116\u2013119.Maria Frickenstein: Alter Geist in neuer Kunst. Die Leidenschaft von Fotografie und Kunst liegt bei den J\u00e4gers in der Familie. \u00dcber Ausstellung und Buch Ernst J\u00e4ger, Fotograf in Burg, Neue Westf\u00e4lische (Bielefeld), January 8, 2010.Jerzy Olek: Czysta Widzialnosc (About Gottfried J\u00e4ger, Interview with Numerous Fig.). In: artluck (Warszawa) 1st Quarter, No. 15\/2010, pp.\u00a020\u201325.Manuela De Leonardis: Intervista Gottfried J\u00e4ger (12 August 2010): Limmagine libera dell’occhio di bimbo. In: il manifesto. quotidiano comunista, 21 September 2010.Alexandra Holownia: Gottfried J\u00e4ger. In: foto wystawy, No. 7\/2011, p.\u00a016-19.Work in collections[edit]Museum of Arts and Crafts Hamburg (Lichtgrafiken zu H. Hei\u00dfenb\u00fcttel).Sprengel Museum Hannover (Collection of Photography K\u00e4the Schroeder).St\u00e4dt. Museum Abteiberg M\u00f6nchengladbach (Etzold Collection: Program-Random-System).Kunsthalle Bielefeld (Graphic Collection).Fotomuseum in the Munich City Museum.George Eastman House Rochester, NYCity Archives Leinfelden-Echterdingen (Collection German Photographic Academy).Museum Ludwig Cologne (Photographic Collection).Biblioth\u00e8que Nationale Paris (Photographic Collection).Schupmann Collection S\u00f6hrewald.Museum in Kulturspeicher W\u00fcrzburg (Peter C. Ruppert Collection, Concrete Art in Europe after 1945).Folkwang Museum Essen (Photographic Collection).Kunsthalle Bremen (Collection Herbert W. Franke, Paths to Computer Art).Literature about[edit]Contemporary Photographers, 2nd Edition. Chicago, London: St. James Press, 1988, pp.\u00a0496\u2013498.Hans-Michael Koetzle: Encyclopaedia of Photographers 1900 to today. Munich: Knaur, 2002, pp.\u00a0218\u2013219.Reinhold Mi\u00dfelbeck (ed.): Prestel lexicon of photographers. From the beginnings of 1839 to the present. Munich et al.: Prestel, 2002, p.\u00a0127.K\u00fcrschner’s Handbook of Fine Artists. Leipzig: KG Saur Verlag, 2007.Bernd Stiegler, Felix Th\u00fcrlemann: masterpieces of photography, Stuttgart: Philipp Reclam jun., 2011, pp.\u00a0272\u2013273.References[edit]^ Andreas Beaugrand (Hrsg.): Gottfried J\u00e4ger. Fotografie als generatives System. Bilder und Texte 1960\u20132007. Bielefeld: Verlag f\u00fcr Druckgrafik Hans Gieselmann, 2007, ISBN\u00a0978-3-923830-60-2. p. 269^ Franke, H. W. (1957). Kunst und Konstruktion: Physik und Mathematik als fotografisches Experiment. M\u00fcnchen: F. Bruckmann.^ a b c “Generative Photography – An Interview With Gottfried J\u00e4ger”. Artnome. Retrieved 2019-08-22.^ Manfred Strecker: ‘Photography becomes sheer art. The era of Gottfried J\u00e4gers at the Department of Design ends with the 25th Bielefeld Symposium on Photography and Media.’ In: Neue Westf\u00e4lische (Bielefeld), November 29, 2004.^ Puglielli, Emidio (2006), An investigation of the relationship between the material and illusionary aspects of the photograph^ “Un magazine Issue 3.1, June 2009” (PDF). Un Projects. Retrieved August 24, 2019.^ “Professor Gottfried J\u00e4ger | FH Bielefeld”. www.fh-bielefeld.de. Retrieved 2019-08-23.^ Symposium on Photography and the Media (21st\u00a0: Bielefeld); J\u00e4ger, Gottfried (2002), The art of abstract photography, Arnoldsche\u00a0; Oxford\u00a0: William Snyder, ISBN\u00a0978-3-89790-015-8^ Gottfried J\u00e4ger, Karl Martin Holzh\u00e4user: Generative Photography. Theoretical foundation, compendium and examples of a photographic image design. Ravensburg: Otto Maier publishing house, 1975, ISBN\u00a03-473-61555-2.^ Bense, Max (1965). Aesthetica; Einfuhrung in die neue Aesthetik. Baden-Baden, Agis-Verlag 1965.^ “Gottfried J\u00e4ger – Artists – Sous Les Etoiles Gallery | Photography”. www.souslesetoilesgallery.net. Retrieved 2019-08-22.^ Feyeux, Ana\u00efs (2006-05-01). “La Generative Fotografie. Entre d\u00e9mon de l’exactitude et rage de l’histoire”. \u00c9tudes photographiques (in French) (18): 52\u201371. ISSN\u00a01270-9050.^ Petr Tausk: Op Art and Photography. About pinhole structures by Gottfried J\u00e4ger. In: ders., The History of Photography in the 20th Century. Cologne: DuMont book publishing house, 1977, P. 165-166.^ Eric Renner: ‘Pinhole Revival in Art: The 1960s and 1970s. Gottfried J\u00e4ger proclaims…’ In: Renner, Eric (1999). Pinhole photography (2nd\u00a0ed.). Focal. pp.\u00a050\u201352. ISBN\u00a0978-0-240-80350-0.^ “Gottfried J\u00e4ger: Photographer of Photography”. 2016. Retrieved August 23, 2019.^ “Winners of the David Octavius Hill Medal (German language)”. www.deutsche-fotografische-akademie.com. Retrieved 2019-08-22.^ “Pressemitteilungen | Deutsche Gesellschaft f\u00fcr Photographie e.V.” www.dgph.de. Retrieved 2019-08-22.^ Gottfried, Horst. “Fotoszene: DGPh-Kulturpreis 2014 vergeben”. pc-magazin. Retrieved 2019-02-25.^ Puglielli, Emidio (January 2006). “An Investigation of the Relationship Between the Material and Illusionary Aspects of the Photograph. Submitted in fulfilment of the requirements for the Degree of Master of Fine Arts, University of Tasmania” (PDF). University of Tasmania.External links[edit]     (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4"},{"@context":"http:\/\/schema.org\/","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki21\/#breadcrumbitem","name":"Enzyklop\u00e4die"}},{"@type":"ListItem","position":2,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki21\/gottfried-jager-wikipedia\/#breadcrumbitem","name":"Gottfried J\u00e4ger – Wikipedia"}}]}]