Riebesehl/ Barbecke (Peine); November 1978
You could have seen here a sequence of images by Heinrich Riebesehl…but now you can´t anymore,
I was asked by BILDKUNST.DE
to delete the images by
(these were the names spelled out)
and every other artist represented by them or to pay a fee for publishing their images.
They represent around 126 000 artists from around the world.
I am working on this blog for my fun,
and for the enjoyment of people interested in photography and art.
There is no income generated whatsoever by this site for me.
Many of the images I use here are floating all over the net,
other images I scanned to upload them to my blog.
To share them, to enrich the world with the work of artists I do admire.
No, my blog is not important.
But it is part of what I would call our common wealth.
I don´t think that I am the source of income losses for the artist,
or anybody else.
Art as part of everyday life,
art easily accessible by everybody without barriers and fees,
art as part of the free flow of thoughts and
But not in the case of artist represented by Bild-Kunst.
Heinrich Riebesehls agricultural landscapes stand for the German photography of the seventies. His images are dry, sober, and completely lacking any melodramatic excitement.
Ansel Adams/ The Tetons and the Snake River
One could almost regard them as boring. I like his images, because they give an account of the everyday. They do that very precisely, and they do get to the point.
Yes, Friedlander’s cherry blossom images are indeed an example of virtuosity, but I feel more at home with these drab agricultural landscapes.
Riebesehl finds beauty in the ordinary; he finds beauty in my everyday Germany, and doing so, he depicts a piece of “Heimat” (homeland) for me.
It might be that Riebesehls pictorial language fits this task, because he is not referring to a globally interchangeable language of photography, but is based on a German photographic tradition called “New Objectivity”.
How beautiful his grays are.