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Frontmatter -- Contents -- Preface -- Introduction Artist Complex -- Artist Complex. Thinking Photography with Carl Gustav Jung -- Genius -- Milieu sphérique, espace clos. The Studio of Georges Braque as a Romantic Place of Creation in Brassaї’s Photographic Portraits -- Claude Monet’s Graphic Work and the Myth of a Plein Air Pa inter -- Self -- Destabilizing the Myth of the “Nanny Photographer”. Vivian Maier’s Self-Portraits AS A Feminist Counter-Voice to Her Public Depiction -- Demiurge, “Tough Prophet” and Scientist. Frederick Kiesler as The Greatest Self-Staging Architect of his Time -- Impossible Self-Portrait. Photographic Ga mes and Existential Inquiries in the Photographic Work of Witkacy–Głogowski -- Bodies -- “Jeff Koons is back!”. Forces at Work -- Natalia LL . Reading Categorical Statements from the Sphere of Post -Consumer Art , October 1975 as a Programmatic Self-Portrait -- Dialectics of Desire and Disgust. Adrian Piper’s Catalysis -- Work -- BERLIN ARTISTS. Photographic Field Research 2009–2014 -- List of contributors Ausgehend von dem von C.G. Jung geprägten Begriff „Komplex" untersuchen die Beiträge die Entstehung der künstlerischen Persona in der Fotografie des 20. Jahrhunderts. Dafür werden fotografische (Selbst-)Porträts, die Dynamik zwischen Selbstaussagen von Künstler/-innen und Fotograf/-innen, die Wechselbeziehungen zwischen Fotografie, Malerei und Performance befragt sowie nach ihren ideengeschichtlichen Ursprüngen gesucht. Der Band zeichnet ein Porträt der Fotografie als „Metawissenschaft". Sie ist Vorarbeit, Inspirationsquelle und alternatives Medium, mit dem Künstler/-innen unterschiedliche Themen bearbeiten konnten. Mit Beiträgen von Ulrike Blumenthal, Till Cremer, Victoria Fleury, Jadwiga Kamola, Weronika Kobylińska-Bunsch, Nadja Köffler, Constance Krüger, Wilma Scheschonk, Gerd Zillner With the Jungian term of the complex the present volume inquires about the making of the artistic persona in twentieth-century photography. The articles examine photographic (self-)portraits, the dynamics between self-statements of artists and photographers, the interrelations of photography, of painting and of performance art and investigate their origins in the history of ideas. The volume traces a portrait of photography as a metascience; as preparatory work, a source of inspiration and an alternate medium in which artists could explore different subjects. With essays by Ulrike Blumenthal, Till Cremer, Victoria Fleury, Jadwiga Kamola, Weronika Kobylińska-Bunsch, Nadja Köffler, Constance Krüger, Wilma Scheschonk, Gerd Zillner
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