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first prints, smaller versions of the photographs, and an overview of the series as a whole. Preliminary drafts and additional prints are just as important for the archive as the so-called first choice among the artist's works. The aim of the archive is to document the artistic process in its entirety. And that of course includes the negatives and contact copies, or the original digital data illustrating the full breadth of the creative process involved. Other points of interest in a collection such as this include written drafts, texts, material documenting the history of the production and presentation, documents, and printed matter. Ideally, it then becomes possible not only to showcase and understand the artistic work, but also to gain an insight into the culture of the day.
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422:, which was active as a photographer training institution until the mid-1980s, had a strong influence on the Association and its founding. A special feature of this private educational institution was that many high-profile photographers held workshops there and that, as a result of this vibrant exchange with America's photography culture, photography was taken seriously as an artwork.
218:, a much-awaited Austrian documentation archive for photography; as an archival facility it is based on international standards. The archive is the recipient of artistic legacies, both pre- and posthumously, either as donations or permanent loans. In return it takes charge of archiving, cataloguing, and making works accessible to the general public as well as for publication.
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All the decisions at
Fotohof are taken at its board meetings: ‘Roughly fifteen people who work at the gallery on a regular basis are on the executive committee, deciding on exhibitions, book projects, and the overall strategy of the gallery.’ (Kurt Kaindl). Rainer Iglar was the association's chairman
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Fotohof is founded on the not-for-profit
Association for the Promotion of Auteur Photography, which was established in 1981 with the remit of mediating fine art photography. The Association and its activities are financed through its own proceeds, through cultural funding from the federal government
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has existed as an independent photo book publishing company since 1990, edited by Rainer Iglar and
Michael Mauracher. Some ten to fifteen titles are published for international distribution every year. As at 2016, a total of around 200 titles by Austrian and international fine art photographers have
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Together with the architects Paul
Rajakovics and Barbara Holub from the transparadiso firm of architects, a spatial concept was specially developed around the idea of an ‘open transparent architecture’ that fully satisfies Fotohof's requirements. Again openly and transparently, it incorporates the
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The archive has a climate-controlled archival facility. Besides its safekeeping mandate per se it also sees itself as a research, study and competence centre. A small exhibition space has been set aside for exhibitions and presentations focusing on the topical themes. A study and training room is
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The basic idea behind the newly founded archive is to create a broad-based collection of works by the featured photo artists. Such a collection should, of course, comprise the photographs themselves. But it is not merely a matter of cherry-picking seminal works for an exhibition: it is also about
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An important part of
Fotohof's activities also involves running a publicly accessible reference library with currently (2023) approximatively 16,000 titles on the history of Austrian and international photography. The library's entire inventory, including a selection of 26 international photo
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The publishing company focuses on young contemporary photo artists. In addition to accompanying current exhibitions, it also attaches a great deal of importance to presenting a publishing programme independently of
Fotohof's exhibition activities. Besides artist's monographs it also publishes
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The programme itself aims to achieve a mix of established and young up-and-coming or recently graduated artists as well as national and international artists, not to mention individual features on the history of photography. Fotohof co-operates on a regular basis with guest curators and other
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From the very first exhibition (Fritz Macho in 1981), part of the
Fotohof's remit has been to process and administer the life work of artists as reflected in their photographic oeuvre. Those activities now have a new, permanent home at the Fotohof
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Fotohof also offers a diverse educational programme in the form of workshops aimed at schools, educational establishments, and private individuals. Training courses are held there on art perception, photographic image composition,
281:. An analogue darkroom and book storeroom are also provided. A database is being set up to record all the existing archive material and provide a public domain that is readily accessible online via the homepage.
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was established in 2014 and inaugurated in April 2015. The collection focuses on documenting the artistic process underlying the production of works by mainly
Austrian photographers.
438:. ‘The building is sited in the working-class district of Lehen, where dilapidated 1960s-era apartment blocks were demolished and rebuilt as low-rises flanking a new square. Named
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On 24 February 2012 Fotohof inaugurated new premises at the
Stadtwerke Salzburg Areal, at the address Inge-Morath-Platz 1–3, with a presentation of works by Belgian photographer
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in co-operation with the
Salzburg publishing company Otto Müller Verlag since 1990. Some thirty volumes have so far been published as part of the series, focusing on artists’
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and individual works in small circulations. They are published as special editions accompanying book publications or as independent works. Publications include editions by
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gallery with views through to all the work areas into the ground floor of the equally new residential housing development in the Lehen district of Salzburg.
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Alongside the exhibitions on the gallery premises in Salzburg, Fotohof also curates and organises touring exhibitions of international photographers such as
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Jasmin Haselsteiner-Scharner. Fotohof 1981-2006. in: Eikon, International Magazine for Photography and Media Art. Issue 54, 2006. Pages 64-67.
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available for processing, digitising and printing photographs, also providing premises for small-scale courses and a work environment for
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Platz after the seminal photographer, it is intended as both a homage and a celebration.’ (Amanda Hopkinson)
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institutions, particularly for group exhibitions and exhibitions focusing on a particular country (e.g.
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Publishing house, gallery, photography archive, library, education in Salzburg, Austria
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also produces and distributes editions of fine art photography in the form of
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magazines, is fully accessible via the library search on the homepage.
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publishing house, gallery, photography archive, library, education
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Amanda Hopkinson. At Home with Fotohof. Aperture Blog, 2012.
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from 1988 to 2021. the current chairwoman is Nadine Weixler.
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632:. fotohof.at. Archived from the original on 2022-05-26
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188:Inge Morath
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450:References
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298:monographs
181:Lithuania
645:cite web
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363:FOTOHOF
324:FOTOHOF
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279:curators
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179:(2007),
175:(2004),
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