Forest and Fields. Wäld und Wiesen.
Neighbors / Nachbarn.
(Gottingen): (SteidlMack), (2006).
4to (303 × 248 mm), pp.. Black-and-white photographs. Yellow endpapers. Grey cloth-covered boards, spine stamped in white. Black-and-white photo-illustrated dust-jacket, white, text in black. Signed and dated by Schorr in black ink to half-title. Fine.
(Gottingen): (SteidlMack), (2009).
4to (313 × 251 mm), pp.104 (two folding). Colour photographs. Design by Schorr and Matthew Kraus. Purple endpapers. Grey cloth-covered boards, black-and-white photo-illustrated paper-covered front, spine and rear board stamped in black. Signed and dated by Schorr in black ink on title-page. Fine.
First editions, both signed. In the early 1990s Schorr, who was born and raised in New York, began visiting Schwäbisch Gmünd, a small city in Southern Germany which was where her partner at the time grew up. For the following twenty years she spent her Summers there and set about making a portrait of the local population. Whilst working there she began to explore the idea of Germany’s imagined and inherited history and her own Jewish heritage. From this point her work took on a number of dualities: Individualism and nationalism, history and identity, war and peace, good and evil, the self and others – all of which resonate throughout her work.
Neighbors / Nachbarn and Blumen are the first, and currently likely to be the only two volumes to be realised in Schorr’s proposed series 'Forest and Fields', or 'Wäld und Wiesen' which was to have extended to six volumes. In a conversation with Gil Blank she explains: ‘The first volume, Neighbors, is portraiture. Blumen, the second book, is still life. Next is Memories of the Administration, which is reportage. The fourth, which is still very much in formation, is about teenage love. Then there’s something I want to do with workers and factories, and that would include pictures of the women’s prison in town… And a volume about sports, called Olympia’s.’
Aarons, P. and Roth, A., In Numbers: Serial Publications by ArtistsSince 1935, Gil Blank, ‘A Conversation With Collier Schorr’, pp.345-360.
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