Joachim Schmid's Archiv

Abstract

Joachim Schmid is a man of many skills, words and views.1 His elaborate, ironic, and often sarcastic lectures are feared by those who consider photography nothing else but a nice pastime or an endless party for small-talking, beautiful people. His articles are among the strongest pieces of satirical writing on the social imponderabilities of photography yet written in the German language. His performances, occasionally in collaboration with friends (for example the Berlin artist/author Adib Fricke), dangle on the edge of being unpredictable and unbearable at the same time, especially in those moments when he walks around a given audience and makes quiet but still audible proclamations — probably the best known of these was during the opening of a 1988 photo-historical exhibition:2 ‘One hundred and fifty years are enough!’ In other words, Joachim Schmid takes photography seriously, more seriously than a lot of people would want him to.

I am indebted to Joachim Schmid for his cooperation at all times in the preparation of this article.

Fotovision, Projekt Fotografie nach 150 Jahren, Hannover: Sprengel Museum 1988, exh. cat. containing an essay by Joachim Schmid: ‘Die Zeit danach. Vom Gebrauch der Bilder’ (pp.137-40).

I am indebted to Joachim Schmid for his cooperation at all times in the preparation of this article.

Fotovision, Projekt Fotografie nach 150 Jahren, Hannover: Sprengel Museum 1988, exh. cat. containing an essay by Joachim Schmid: ‘Die Zeit danach. Vom Gebrauch der Bilder’ (pp.137-40).

Notes

I am indebted to Joachim Schmid for his cooperation at all times in the preparation of this article.

Fotovision, Projekt Fotografie nach 150 Jahren, Hannover: Sprengel Museum 1988, exh. cat. containing an essay by Joachim Schmid: ‘Die Zeit danach. Vom Gebrauch der Bilder’ (pp.137-40).