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{{Infobox artist
'''Barbara Probst''' is a ] and contemporary artist, born in ] in 1964. She lives and works in ] and Munich. Probst’s images use multiple points of view by employing as many as twelve cameras and tripods, arranged around the subject, to photograph multiple points of view captured in separate images but taken simultaneously with a single ] shutter release. "All of the images of a series present different views of the same place or event at the same moment."<ref>Conversation between Barbara Probst and Johannes Meinhardt on July 27, 2006 in: “Barbara Probst – Exposures”, ed. by ] in cooperation with Museum of Contemporary Photography, Chicago.</ref> While traditional photography directs the viewer to see a single image, Probst’s sequences are composed of a series of separate, though related images incorporating multiple perspective of a single moment.<ref></ref> Her photographs cause viewers to experience a shift in time while reconsidering their presence in physical space. "Barbara Probst embroils us in different possible interpretations; focusing on a specific moment in time… she directs our attention to the time before or after…"<ref></ref> Her work disregards photography’s standard concept of “decisive moment,” and instead references cinema’s practice of multiple cameras to create movement and diversion.<ref></ref>
| name = Barbara Probst
| image = Barbara_Probst_at_Kunsthaus_Wien.jpg
| imagesize =
| caption = Barbara Probst at the opening of "still life, obstinacy of things" at Kunsthaus Wien
| birth_date = {{Birth year and age|1964}}
| birth_place = ], ]
| nationality = ]
| field = ]
| training = ], ]
| movement = ]
}}


'''Barbara Probst''' (born 1964) is a contemporary artist whose photographic work consists of multiple images of a single scene, shot simultaneously with several cameras via a radio-controlled system. Using a mix of color and black-and-white film, she poses her subjects, positioning each lens at a different angle, and then triggers the cameras’ shutters all at once, creating tableaux of two or more individually framed images. Although the pictures are of the same subject and are taken at the same instant, they provide a range of perspectives.<ref>{{cite web | url =https://www.moma.org/calendar/exhibitions/3 | title =New Photography 2006: Jonathan Monk, Barbara Probst, Jules Spinatsch | website =moma.org | publisher =Museum of Modern Art | access-date =April 15, 2019 | quote ="German artist Barbara Probst experiments with the temporality and point of view of the shot/counter-shot technique of film by presenting multiple photographs of one scene shot simultaneously with several cameras via a radio-controlled release system." }}</ref> She lives and works in both ] and ].<ref>{{cite news | url =https://www.washingtonpost.com/lifestyle/style/barbara-probsts-exposures-photographs-stimulating-serendipity/2011/05/18/AFlJZO7G_story.html?noredirect=on | title =Barbara Probst's 'Exposures' photographs: Stimulating serendipity | last =Jenkins | first =Mark | date =May 20, 2011 | newspaper =The Washington Post | access-date =April 15, 2019 | quote ="The German-born photographer, who divides her time between New York and Munich, leaves little to chance." }}</ref> She relocated to ] in 1997.<ref>{{cite web | url =http://www.mocp.org/exhibitions/2000/7/barbara-probst-exposures.php | title =Dissected Moments | last =Irvine | first =Karen | date =April 6, 2007 | website =mocp.org | publisher =Museum of Contemporary Photography | access-date =April 15, 2019 | quote =Born in Munich in 1964, she moved to New York in 1997 on a fellowship, staying on to pursue further professional opportunities and to be with the man who became her husband. }}</ref>
She has been the subject of numerous solo exhibitions, most recently at ], Bignan, France, ], Madison, WI <ref></ref> and the ], Chicago. Her work was featured at the ], New York, in the 2006 “New Photography” exhibition.<ref></ref> Her work is also included in the MOMA collection.<ref></ref> Other solo exhibitions include Murray Guy,<ref></ref> New York, , Edinburgh and a midcareer survey at the ], Germany; G Fine Art, Washington D.C.; Jessica Bradley Art+Projects, Toronto, Canada; Kuckei+Kuckei, Berlin; and Sprüth Magers Projekte, Munich. She has had three solo exhibitions at Murray Guy Gallery in New York, most recently in 2009 featuring two new multi-paneled works, Exposure #55: Munich, Waisenhausstrasse 65, 01.17.08, 1:55 p.m and Exposure #56: N.Y.C., 428 Broome Street, 06.05.08, 1:42 pm.


==Early life and education==
==References==
Probst was born in ]. She studied at the ] (Akademie der Bildenden Künste, München) and ] in Germany.<ref>{{cite web | url =https://www.le-bal.fr/en/2019/04/barbara-probst | title =Barbara Probst - The Moment in Space | website =le-bal.fr | date =4 April 2019 | publisher =Le Bal | access-date =April 15, 2019 | quote =Barbara Probst studied sculpture at the Akademie der Bildenden Künste in Munich and photography at the Kunstakademie Düsseldorf. }}</ref><ref>{{Cite web|url=http://murrayguy.com/barbara-probst/biography/|title=Murray Guy: Barbara Probst|website=murrayguy.com |publisher =Murray Guy Gallery |access-date=April 15, 2019 |quote=1984 to 90 Akademie der Bildende Kunste, Munich, Germany, 1988 to 89, Kunstakademie Düsseldorf, Germany}}</ref>
{{Reflist}}


==Work==
==Selected bibliography==
Probst experiments with the temporality and point of view of the shot/counter-shot technique of film by presenting multiple photographs of one scene shot simultaneously with several cameras via a radio-controlled release system.<ref>{{cite web | url =https://www.moma.org/calendar/exhibitions/3 | title =New Photography 2006: Jonathan Monk, Barbara Probst, Jules Spinatsch | website =moma.org | publisher =Museum of Modern Art | access-date =April 15, 2019 | quote ="German artist Barbara Probst experiments with the temporality and point of view of the shot/counter-shot technique of film by presenting multiple photographs of one scene shot simultaneously with several cameras via a radio-controlled release system." }}</ref> As a result, the subject of the work becomes the photographic moment of exposure itself.<ref>{{cite web | url =http://www.mocp.org/exhibitions/2000/7/barbara-probst-exposures.php | title =Dissected Moments | last =Irvine | first =Karen | date =April 6, 2007 | website =mocp.org | publisher =Museum of Contemporary Photography | access-date =April 15, 2019 | quote =In Exposures Probst displays sensitivity to representational complexity, as she illustrates the myriad ways in which a moment can be depicted, and by extension, experienced. }}</ref>
*, , Steidl-Verlag in cooperation with Museum of Contemporary Photography, Chicago, 2007. ISBN 978-3-86521-392-1


{{Quote
*Hall, Emily. „Barbara Probst at Murray Guy Gallery“, ] summer 2009, p.&nbsp;338/339
|text="Barbara Probst investigates the many ambiguities inherent to the photographic image. In her work the relationship of the photographic instant to reality is intensified in two distinct ways whereby the captured moment acquires an almost unsettling quality: on the one hand, Barbara Probst abandons the single-eye gaze of the camera and divides it into various points of view. On the other, she multiplies and diversifies the short moment of the shot. Thanks to a radio-controlled release system she can simultaneously trigger the shutters of several cameras pointed at the same event or subject from different angles and various distances. The depictions of each specific instant generated by this method constitute a series. The relationship of single shots to one another within a series is not determined by a common unifying principle or any stylistic markers. There is no formal proximity and no overall theme to tie the works together. Yet the photographs are bound by a tighter but still elusive link, namely the one and only moment of an exposure which is their very subject.<ref>{{cite book | last =Schessl | first = Stefan | title =Barbara Probst – Exposures | publisher =Kunstverein Cuxhaven | date =2002 | location =Cuxhaven }}</ref>"
*], New York; p.&nbsp;346-349.] ISBN 978-1-59711-062-4
|author=Stefan Schessl
*, solo show catalogue published by Kunstverein Cuxhaven, Cuxhaven, Germany, 2002
|title="Back to the Beginning"
|source=''Barbara Probst – Exposures'' (2002)
}}

Using a radio-controlled release system, or multiple photographers, she simultaneously triggers the shutters of several cameras pointed at the same scene from various viewpoints.<ref>{{cite web | url =http://www.mocp.org/exhibitions/2000/7/barbara-probst-exposures.php | title =Dissected Moments | last =Irvine | first =Karen | date =April 6, 2007 | website =mocp.org | publisher =Museum of Contemporary Photography | access-date =April 15, 2019 | quote =Because her clustered pictures depict the same subject from various angles at precisely the same instant—a feat she achieves using radio controls, synchronized cable releases, and sometimes multiple photographers—they invite us to engage in a game of comparing and contrasting the locations of the cameras and photographers who took them.}}</ref> The resulting sequences of images suspend time and stretch out the split second. Artistic Director and Publisher of Camera Austria Reinhard Braun writes of this saying:

{{Quote
|text="Barbara Probst embroils us in different possible interpretations; particularly by apparently focusing on a specific moment in time in the various series, she directs our attention to the time before or after, diverting it away from the meaning of this empictured moment and to the construction of a duration that actually creates the meaning of the action or scene, i.e. that does not give us anything to see but something to think about.<ref>{{cite journal | last =Braun | first =Reinhard | title =An Exposure of Photography: Barbara Probst's Exposures | journal =Camera Austria International | issue =85 | pages =9–18 | publisher =Graz | location =Austria | date =2004 | language =German | url =https://camera-austria.at/en/zeitschrift/85-2004-2/ | access-date =April 17, 2019 }}</ref>"
|author=Reinhard Braun
|title="An Exposure of Photography: Barbara Probst’s Exposures"
|source=''Camera Austria International #85'' (2004)
}}

Moreover, Probst employs backdrops, often enlarged stills from well-known movies or landscapes.<ref>{{cite web | url =https://hcponline.org/spot/between-staged-and-documentary/ | title =Between Staged and Documentary, Yasufumi Nakamori Meets With Barbara Probst | last =Nakamori | first =Yasufumi | date =October 2011 | website =hcponline.org | publisher =Spot Magazine, Houston Center for Photography | access-date =April 15, 2019 | quote =The prismatic effect is heightened when backdrops, often enlarged stills from well-known movies are employed, or when you choose to shoot at an outside location in Manhattan. }}</ref> This enhances the sense of artifice by presenting multiple locations within the same moment.<ref>{{cite web | url =https://hcponline.org/spot/between-staged-and-documentary/ | title =Between Staged and Documentary, Yasufumi Nakamori Meets With Barbara Probst | last =Nakamori | first =Yasufumi | date =October 2011 | website =hcponline.org | publisher =Spot Magazine, Houston Center for Photography | access-date =April 15, 2019 | quote =Each image tells the same story in a different way, yet at the same time it carries the same amount of “truth” as the others in the series. This contradiction blanks out the narrative of the images and turns them into a facade without a construction. These circumstances cannot be investigated in film, because the images in film are in chronological sequence and not simultaneous. }}</ref> Furthermore, equipment such as cameras, studio lights, tripods are visible in the crossfire of images.<ref>{{cite web | url =https://hcponline.org/spot/between-staged-and-documentary/ | title =Between Staged and Documentary, Yasufumi Nakamori Meets With Barbara Probst | last =Nakamori | first =Yasufumi | date =October 2011 | website =hcponline.org | publisher =Spot Magazine, Houston Center for Photography | access-date =April 15, 2019 | quote =Both illusion and device are always manifest cameras, studio lights, tripods are often all visible, as if you are not interested in creating a seamless image of constructed reality, or a constructed moment. }}</ref> These including the photographer(s) themselves become subjects of the moment.

] Critic Brian Scholis asserts her work disregards photography's standard concept of “decisive moment,” and instead references cinema's practice of multiple cameras to create movement and diversion in a "]-like multiplicity of perspectives".<ref>{{cite web | url =https://www.artforum.com/print/reviews/200605/barbara-probst-43588 | title =Barbara Probst at Murray Guy | last =Scholis | first =Brian | date =May 2006 | website =artforum.com | publisher =Artforum | access-date =April 17, 2019 | quote =The Rashomon-like multiplicity of perspectives synthetically prolongs the cameras’ “decisive moment,” and this clash of temporal registers was the exhibition’s most salient quality. }}</ref>

==Selected solo exhibitions==
*2024 ], Switzerland<ref>{{Cite web |title=Barbara Probst. Subjective Evidence |url=https://www.kunstmuseumluzern.ch/en/exhibitions/barbara-probst/ |access-date=2024-07-18 |website=www.kunstmuseumluzern.ch/en/ |language=en-US}}</ref>
*2019 ], Paris, France<ref>{{cite web | url =https://www.le-bal.fr/en/2019/04/barbara-probst | title =Barbara Probst, The Moment in Space | website =le-bal.fr | date =4 April 2019 | publisher =Le Bal | access-date =April 17, 2019 }}</ref>
*2014 ], Prague, Czechia<ref>{{cite web | url =http://www.galerierudolfinum.cz/en/exhibitions/past-exhibitions/barbara-probst-uplne-znejisteni/ | title =Barbara Probst - Total Uncertainty | website =galerierudolfinum.cz | publisher =Galerie Rudolfinum | access-date =April 15, 2019 | quote =" In presenting Probst’s visually rich and conceptually rooted work, Galerie Rudolfinum follows up on its series of solo exhibitions by photographers such as Jürgen Klauke, Gregory Crewdson, Shirana Shahbazi, and Bernd and Hilla Becher." }}</ref>
*2014 Centre PasquArt, Biel, Switzerland<ref>{{cite web | url =https://www.pasquart.ch/en/event/barbara-probst/ | title =Barbara Probst | website =pasquart.ch | publisher =Pasquart Kunsthaus | access-date =April 15, 2019 | quote ="The exhibition and accompanying publication are a collaboration between the Kunsthaus CentrePasquArt, the Centre for Photography, Copenhagen and Rudolfinum, Prague." }}</ref>
*2013 National Museum of Photography, Copenhagen, Denmark<ref>{{cite web | url =http://www.kb.dk/en/dia/udstillinger/barbara_probst.html | title =Barbara Probst | website =kb.dk | publisher =Der KGL Bibliotek | access-date =April 15, 2019 | quote ="The exhibition in the National Museum of Photography presents pieces created between 2005 and 2012 from the series Exposures, and will be the artist’s first solo exhibition in Denmark." }}</ref>
*2009 Oldenburger Kunstverein, Oldenburg, Germany<ref>{{cite web | url =https://www.oldenburger-kunstverein.de/ausstellung/barbara-probst/ | title =Oldenburger Kunstverein:Barbara Probst | website =oldenburger-kunstverein.de | publisher =Oldenburger Kunstverein | access-date =April 15, 2019 | quote ="Die Fotografin Barbara Probst untersucht die Vieldeutigkeit und Fragwürdigkeit des fotografischen Bildes." }}</ref>
*2009 Stills Gallery, Edinburgh, Scotland<ref>{{cite web | url =http://www.stills.org/exhibition/past/barbara-probst | title =Barbara Probst | website =stills.org | publisher =Stills Gallery | access-date =April 15, 2019}}</ref>
*2008 Domaine de Kerguehennec, Bignan, France<ref>{{cite web | url =https://www.paris-art.com/barbara-probst/ | title =Barbara Probst | website =paris-art.com | date =2 October 2008 | publisher =Paris Art | access-date =April 15, 2019 }}</ref>
*2008 ], Madison, WI<ref>{{cite web | url =https://isthmus.com/arts/photographic-juxtapositions-in-barbara-probst-exhibit-at-mmoca/ | title =Photographic juxtapositions in Barbara Probst exhibit at MMoCA | last =Smith | first =Jennifer | date =December 16, 2008 | website =isthmus.com | publisher =Isthmus | access-date =April 15, 2019 | quote ="In a new exhibition at the Madison Museum of Contemporary Art, German-born photographer Barbara Probst confronts these issues in ways that are not only visually appealing but also offer, at times, an understated humor." }}</ref>
*2007 ], Chicago, IL<ref>{{cite web | url =https://www.paris-art.com/barbara-probst/ | title =Barbara Probst: Exposures | website =mocp.org | date =2 October 2008 | publisher =Museum of Contemporary Photography | access-date =April 15, 2019 }}</ref>


==Selected group exhibitions==
*2015 ''Perfect Likeness: Photography and Composition', ], Los Angeles, CA<ref>{{cite web | url =https://hammer.ucla.edu/exhibitions/2015/perfect-likeness-photography-and-composition/ | title =Perfect Likeness: Photography and Composition | website =hammer.ucla.edu | publisher =The Hammer Museum, UCLA | access-date =April 15, 2019 |quote="Since the late 1970s, however, a number of photographers have been engaged with a renewed investigation of composition and thus, inevitably, with the historically devalued concept of the pictorial. These include Thomas Demand, Stan Douglas, Roe Ethridge, Andreas Gursky, Annette Kelm, Elad Lassry, Florian Maier-Aichen, Barbara Probst, Jeff Wall, and Christopher Williams, among others." }}</ref>
*2015 ''Eyes on the Street'', ], Cincinnati, OH<ref>{{cite web | url =https://cincinnatiartmuseum.org/art/exhibitions/exhibition-archive/2014-exhibitions/eyes-on-the-street/ | title =Eyes on the Street | website =cincinnatiartmuseum.org | publisher =Cincinnati Art Museum | access-date =April 15, 2019 | quote ="Artist list: Olivo Barbieri, Philip-Lorca diCorcia, Jason Evans, Paul Graham, Mark Lewis, Jill Magid, James Nares, Barbara Probst, Jennifer West, Michael Wolf" }}</ref>
*2014 ''(Mis)Understanding Photography: Works and Manifestos'', ], Essen, Germany<ref>{{cite web | url =https://www.museum-folkwang.de/en/news/exhibitions/archive/misunderstanding-photography.html | title =(Mis)Understanding Photography Works and Manifestos | website =museum-folkwang.de | publisher =Museum Folkwang | access-date =April 15, 2019 | quote ="Participating artists Works: Claudia Angelmaier, Michael Badura, Sylvia Ballhause, Laura Bielau, Viktoria Binschtok, Kristleifur Björnsson, Bernhard Blume, Christian Boltanski, Günter Karl Bose, Johannes Brus, Michel Campeau, Sarah Charlesworth, Jojakim Cortis & Adrian Sonderegger, Tacita Dean, Bogomir Ecker, Hans Eijkelboom, Hans-Peter Feldmann, Joan Fontcuberta, Florian Freier, Katharina Gaenssler, Jochen Gerz, G.R.A.M., Aneta Grzeszykowska, Jeff Guess, Rudolf Herz, John Hilliard, Alfredo Jaar, Kenneth Josephson, Erik Kessels, Jochen Lempert, Zoe Leonard, Les Levine, Zbigniew Libera, Stanislaw Markowski, Santu Mofokeng, Ugo Mulas, ], Renate Heyne & Floris M. Neusüss, Peter Piller, Steven Pippin, Richard Prince, Barbara Probst, Arnulf Rainer, Timm Rautert, Benjamin Rinner, Józef Robakowski, Thomas Ruff, Ed Ruscha, Adrian Sauer, Joachim Schmid, Pavel Maria Smejkal, Michael Snow, Clare Strand, Larry Sultan & Mike Mandel, ], Ulrich Tillmann & Wolfgang Vollmer, ], Axel Töpfer, Timm Ulrichs, Franco Vaccari, Matthias Wähner, Gillian Wearing, Jan Wenzel, Christopher Williams, Akram Zaatari" }}</ref>
*2014 ''Per Speculum Me Video'' at ], Frankfurt am Main, Germany<ref>{{cite web | url =https://www.fkv.de/en/exhibition/per-speculum-me-video/ | title =Per Speculum Me Video | website =fkv.de | publisher =Frankfurter Kunstverein | access-date =April 15, 2019 | quote ="Participating artists: Pauline Boudry & Renate Lorenz (CH/DE, Berlin), Martin Brand (DE, Köln), Manuela Kasemir (DE, Leipzig), Sabine Marte (AT, Wien), Benny Nemerofsky Ramsay (CA, Berlin), Barbara Probst (DE, New York), Johanna Reich (DE, Köln), Eva Weingärtner (DE, Offenbach), Gilda Weller (DE, Frankfurt)" }}</ref>
*2014 ''Lost Places. Sites of Photography'', ], Hamburg, Germany<ref>{{cite web | url =https://www.hamburger-kunsthalle.de/en/exhibitions/lost-places-0 | title =Lost Places | website =hamburger-kunsthalle.de | publisher =] | access-date =April 15, 2019 | quote ="The exhibition features the following artists among others: Thomas Demand (1964), Omer Fast (1972), ] (1970), Andreas Gursky (1955), Candida Höfer (1944), ] (1964), Jan Köchermann (1967), Barbara Probst (1964)" }}</ref>
*2011 ''elles@pompidou'' at the ], Paris, France<ref>{{cite web | url =https://www.centrepompidou.fr/cpv/resource/ccBLAM/r7Gk7od | title =elles@pompidou, Artistes femmes dans les collections du Musée national d'art moderne | website =centrepompidou.fr | publisher =Centre Pompidou | access-date =April 15, 2019 }}</ref>
*2010 ''Mixed Use, Manhattan, Photography and Related Practices 1970s to the present'', curated by curated by ] and ], ], Madrid Spain<ref>{{cite web | url =https://www.museoreinasofia.es/en/exhibitions/mixed-use-manhattan-photography-and-related-practices-1970s-present | title =Mixed Use, Manhattan, Photography and Related Practices 1970s to the present | website =museoreinasofia.es | publisher =Museo Nacional Centro de Arte Reina Sofia | access-date =April 15, 2019 | quote ="Artists:Alvin Baltrop, Bernd Becher, Hilla Becher, Dara Birnbaum, Jennifer Bolande, Stefan Brecht, Matthew Buckingham, Tom Burr, Roy Colmer, Moyra Davey, Terry Fox, William Gedney, Bernard Guillot, David Hammons, Sharon Hayes, ], Joan Jonas, Janos Kender, Louise Lawler, Zoe Leonard, Sol LeWitt, Glenn Ligon, Robert Longo, Vera Lutter, Danny Lyon, Babette Mangolte, Gordon Matta-Clark, Steve McQueen, John Miller, Donald Moffett, James Nares, Max Neuhaus, Catherine Opie, Gabriel Orozco, Barbara Probst, Emily Roysdon, Cindy Sherman, Charles Simonds, Thomas Struth, James Welling, David Wojnarowicz, Christopher Wool" }}</ref>
*2010 to 2012 ''Exposed: Voyeurism, Surveillance and the Camera''<ref>{{cite web | url =http://artdaily.com/news/39901/SFMOMA-to-Present-Exposed--Voyeurism--Surveillance-and-The-Camera-Since-1870 | title =SFMOMA to Present Exposed: Voyeurism, Surveillance and The Camera Since 1870 | website =artdaily.com | publisher =Art Daily | access-date =April 15, 2019 | quote ="From shots used to identify suffragettes and anarchists to prisoner Rudolf Cisar's clandestine views of Dachau, photography has been crucial to a wide variety of surveillance projects, both political and private. This section juxtaposes FBI photographs and military reconnaissance shots with work by contemporary artists who have critiqued or appropriated the technologies of surveillance, including Jordan Crandall, Bruce Nauman, Barbara Probst, and Thomas Ruff." }}</ref>
**], London, UK<ref>{{cite web | url =https://www.tate.org.uk/whats-on/tate-modern/exhibition/exposed | title =Exposed: Voyeurism, Surveillance and the Camera | website =tate.org.uk | publisher =Tate Modern | access-date =April 15, 2019 }}</ref>
**], San Francisco, CA<ref>{{cite web | url =https://www.sfmoma.org/exhibition/exposed-voyeurism-surveillance-and-the-camera-since-1870/ | title =Exposed, Voyeurism, Surveillance, and the Camera since 1870 | website =sfmoma.org | publisher =San Francisco MOMA | access-date =April 15, 2019 }}</ref>
**], Minneapolis, MN<ref>{{cite web | url =https://walkerart.org/calendar/2011/exposed-voyeurism-surveillance-and-the-camera | title =Exposed: Voyeurism, Surveillance, and the Camera Since 1870 | website =walkerart.org | publisher =walker Art Center | access-date =April 15, 2019 }}</ref>
*2006 ''New Photography'', ], New York, NY<ref>{{cite web | url =https://www.moma.org/calendar/exhibitions/3 | title =New Photography 2006: Jonathan Monk, Barbara Probst, Jules Spinatsch | website =moma.org | publisher =Museum of Modern Art | access-date =April 15, 2019 | quote ="German artist Barbara Probst experiments with the temporality and point of view of the shot/counter-shot technique of film by presenting multiple photographs of one scene shot simultaneously with several cameras via a radio-controlled release system." }}</ref>

==Collections==
*], Paris, France<ref>{{cite web | url =https://www.centrepompidou.fr/cpv/ressource.action?param.id=FR_R-f2c544ee19e055debb36ba443258781&param.idSource=FR_O-89ff860d83db47252e3b1d27a58e94 | title =Exposure #9 : NYC, Grand Central Station, 12.18.01, 1:21 P.M. | website =centrepompidou.fr | publisher =Centre Pompidou | access-date =April 16, 2019 }}</ref>
*], Essen, Germany
*], Rome, Italy
*Lenbachhaus, Munich, Germany<ref>{{cite web | url =http://www.lenbachhaus.de/blog/kommentare-aus-der-ausstellung/ | title =Kommentare Zur Ausstellung | last =Gaertner | first =Jonna | date =January 30, 2013 | website =lenbachhaus.de | publisher =Lenbechhaus | access-date =April 16, 2019 | quote =KUNST IST … SCHÖN, wenn sie einen anspricht. „Besonders gut hat mir die Bilderreihe von Barbara Probst gefallen! Sehr gut zum Mitraten und überlegen, was passiert ist!“}}</ref>
*], Los Angeles, CA<ref>{{cite web | url =https://collections.lacma.org/search/site/Barbara%20Probst?f%5B0%5D=sm_field_artist%3Anode%3A2110942 | title =Collection, Artist, Barbara Probst | website =collections.lacma.org | publisher =Los Angeles County Museum of Art | access-date =April 16, 2019 }}</ref>
*Museo Cantonale d’Arte, Lugano, Switzerland<ref>{{cite web | url =http://www.e-mca.ti.ch/lugano/eMuseumPlus?service=direct/1/ResultDetailView/result.t1.collection_detail.$TspReferenceLink.link&sp=10&sp=Scollection&sp=SfieldValue&sp=0&sp=0&sp=3&sp=SdetailView&sp=0&sp=Sdetail&sp=0&sp=F&sp=Sartist&sp=l13782 | title =Collections, Barbara Probst | website =e-mca.ti.ch | publisher =Museo Cantonale d'Arte | access-date =April 17, 2019 }}</ref>
*], IL<ref>{{cite web | url =https://mcachicago.org/About/Who-We-Are/Artists/Barbara-Probst | title =Barbara Probst, Collection | website =mcachicago.org | publisher =Museum of Contemporary Art, Chicago | access-date =April 16, 2019 }}</ref>
*], Chicago, IL<ref>{{cite web | url =http://www.mocp.org/detail.php?t=objects&type=group&f=&s=&record=0&gid=2506&group=Fundamentals+of+Photography&highlight=yes | title =Museum of Contemporary Photography Collection Highlight | website =mocp.org | publisher =Museum of Contemporary Photography | access-date =April 17, 2019 }}</ref>
*], TX<ref>{{cite web | url =https://www.mfah.org/art/search?sort=artist%2cdesc&q=Probst&artist=Barbara+Probst | title =Search the Collection: Barbara Probst | website =mfah.org | publisher =Museum of Fine Arts Houston | access-date =April 17, 2019 }}</ref>
*], New York, NY<ref>{{cite web | url =https://www.moma.org/collection/works/102471?classifications=any&date_begin=Pre-1850&date_end=2019&locale=en&page=1&q=Barbara+Probst&with_images=1 | title =Barbara Probst, Exposure #30: N.Y.C., 249 W 34th Street, 11.20.04, 2:27 p.m. 2004 | website =moma.org | publisher =Museum of Modern Art | access-date =April 15, 2019 }}</ref>
*], Ottawa, Canada<ref>{{cite web | url =https://www.gallery.ca/collection/search-the-collection?search_api_views_fulltext=Probst&sort_by=search_api_relevance&f%5B0%5D=field_reference_artist%253Atitle%3ABarbara%20Probst | title =Search the Collection: Barbara Probst | website =gallery.ca | publisher =National Gallery of Canada | access-date =April 16, 2019 }}</ref>
*], Munich, Germany<ref>{{cite web | url =https://www.sammlung.pinakothek.de/en/artist/barbara-probst | title =Barbara Probst | website =sammlung.pinakothek.de | publisher =Pinakothek der Moderne | access-date =April 16, 2019 }}</ref>
*], San Francisco, CA<ref>{{cite web | url =https://www.sfmoma.org/artwork/2007.116.A-B/ | title =Barbara Probst, Exposure #11A: N.Y.C., Duane & Church Streets 06.10.02, 3:07 p.m., 2002 | website =sfmoma.org | publisher =San Francisco Museum of Modern Art | access-date =April 15, 2019 }}</ref>
*], Vancouver BC, Canada
*], New York, NY<ref>{{cite web | url =https://whitney.org/collection/works/46551 | title =Exposure #56: N.Y.C. 428 Broome Street 06.05.08, 1:42 pm 2008 | website =whitney.org | publisher =Whitney Museum | access-date =April 15, 2019 }}</ref>

==Editorial work and fashion campaigns==
*2019 ] editorial, January<ref>{{cite web | url =https://models.com/work/vogue-italia-the-gaze | title =Vogue Italia, The Gaze | date =January 2019 | website =models.com | publisher =Models.com | access-date =April 17, 2019 }}</ref>
*2018 ], July<ref>{{cite web | url =https://www.wallpaper.com/architecture/42-crosby-annabelle-selldorf-new-york | title =We go people watching at Annabelle Selldorf's 42 Crosby | last =Stathaki | first =Ellie | date =June 14, 2018 | website =wallpaper.com | publisher =Wallpaper Magazine | access-date =April 17, 2019 | quote =elldorf’s sophisticated approach and the building’s strategic location – a stone’s throw from Soho’s busiest streets, yet at a slightly calmer part of town – made it the perfect setting for our main July issue fashion story, ‘Double Take’, shot by renowned German artist and conceptual photographer Barbara Probst, expertly mixing streetlife scenes with chic animal prints. }}</ref>
*2018 Modern Matter, Autumn/Winter<ref>{{cite web | url =http://amodernmatter.com/article/out-now-remastered/ | title =Out Now: Remastered | date =December 12, 2018 | website =amodernmatter.com | publisher =Modern Matter | access-date =April 17, 2019 | quote =Fashion by Barbara Probst. }}</ref>
*2018 Garage Magazine, September<ref>{{cite web | url =https://garage.vice.com/en_us/article/pawxqm/glass-house-fashion
| title =16 Cameras Capture One Fashion Moment at Philip Johnson's Glass House | date =September 4, 2018 | website =garage.vice.com | publisher =Garage Magazine | access-date =September 4, 2018 | quote =At 199 Elm Street, New Canaan, CT, on 18 April 2018, at 4:12:32 p.m., Barbara Probst fired 16 cameras, all at once, for this Fall fashion story at the famed architectural landmark. }}</ref>
*2017 ], Spring/Summer<ref>{{cite web | url =http://www.anothermag.com/fashion-beauty/9546/the-photographer-behind-marnis-mischievous-ss17-campaign | title =The Photographer Behind Marni's Mischievous S/S17 Campaign | last =Tindle | first =Hannah | date =February 15, 2017 | website =anothermag.com | publisher =AnOther | access-date =April 17, 2019 | quote =Barbara Probst is renowned for producing images that comment upon the seductive and illusory effect that photography so often employs. Cameras, studio lights and photographic equipment are intentionally made visible in her work and, as a consequence, the processes of image making become exposed to the viewer. When she began to work with the medium, Probst was initially interested in dissecting what a photograph actually is and how it functions, finding interest not in the subject itself, but rather in the many ways she could document it. Fascinated by the fact that there are countless ways of representing one and the same moment depending on the decisions of the photographer, she exploited this intrigue for the Marni S/S17 campaign, creating a mischievous subversion of the fashion photoshoot, with models appearing to turn the lens back onto her. Here, Probst speaks with AnOther about balancing photographic power, challenging the limitations of one-dimensional storytelling and some of the practitioners that so inspire what she does. }}</ref>
*2017 ], July<ref>{{cite web | url =https://www.vogue.it/bellezza/tendenze-news/2017/07/25/intervista-barbara-probst | title =Intervista a Barbara Probst | last =Macchia | first =Di Susanna | date =July 25, 2017 | website =vogue.it | publisher =Vogue Italia | access-date =April 17, 2019 | quote =Fotografa e visual artist, Barbara Probst ha ritratto per “Vogue” (p.110) due ragazze identiche, usando due macchine fotografiche in simultanea: un inedito, duplice punto di vista. }}</ref>

==Selected monographs==
*2024 '''Barbara Probst. Subjective Evidence''', published Hartmann Projects, edited by ] und FotoFocus/Contemporary Arts Center Cincinnati, with texts by Stefan Gronert, Fanni Fetzer, Kevin Moore, Hartmann Books, Stuttgart 2024
*2019 '''The Moment in Space''', published by Le Bal, Paris and Hartmann Projects, with an essay by Frederic Paul
*2017 '''12 Moments''', published by Editions Xavier Barral, with an essay by ]<ref>{{Citation | last =Hobbs | first =Robert | title =Barbara Probst: 12 Moments | place =Paris, France | publisher =Editions Xavier Barral | year =2017 | pages =68 | language =French | url =http://exb.fr/en/catalogue/304-12-moments.html | isbn =978-2-36511-119-5 }}</ref>
*2016 '''12 Moments''', published by Hartmann Projects, with an essay by ]<ref>{{Citation | last =Hobbs | first =Robert | title =Barbara Probst: 12 Moments | place =Stuttgart, Germany | publisher =Hartmann Books | year =2016 | pages =63 | language =English | isbn =9783960700050}}</ref>
*2013 '''Barbara Probst''', published by ], Germany, with texts by Felicity Lunn, Jens Erdman Rasmussen, and Lynne Tillman, and an interview with the artist by Frédéric Paul<ref>{{Citation | last1 =Tillman | first1 =Lynne | last2 =Lunn | first2 =Felicity | last3 =Rasmussen | first3 =Jens Erdman | last4 =Frederic | first4 =Paul | title =Barbara Probst | place =Germany | publisher =Hatje Cantz | year =2014 | pages =240 | language =English | isbn =978-3775737111 }}</ref>
*2008 '''Barbara Probst – Exposures''', published by ], Germany and the Museum of Contemporary Photography, Chicago, with an introduction by Karen Irvine, an interview with Johannes Meinhardt and an essay by David Bate<ref>{{Citation | last1 =Irvine | first1 =Karen | last2 =Meinhardt | first2 =Johannes | last3 =Bate | first3 =David | title =Barbara Probst Exposures | place =Göttingen, German, Chicago, IL | publisher =Steidl and Museum of Contemporary Photography, Chicago | year =2008 | pages =108 | language =English | isbn =9783865213921
}}</ref>
*2002 '''Barbara Probst''', published for exhibition at ], Cuxhaven, Germany, with an essay by Stefan Schessl<ref>{{Citation | last =Schessl | first =Stephan | title =Barbara Probst | place =Cuxhaven, Germany | pages =27 | publisher =Kunstverein Cuxhaven | year =2002 | edition = 1000 copies made 1st | language =German }}</ref>
*1998 '''Welcome''', published for exhibition at ], Munich, Germany, with an essay by Thomas Dreher<ref>{{Citation | last = Dreher | first = Thomas | title =Welcome | place =Munich, Germany | pages =19 | publisher =Frankfurter Kunstverein | year =1998 | edition = 1000 copies made 1st | language =German }}</ref>
*1998 '''Through The Looking Glass''', published for exhibition at ], Dessau, Germany, with an essay by Thomas Dreher<ref>{{Citation | last = Dreher | first = Thomas | title =Through The Looking Glass | place = Dessau, Germany | pages =19 | publisher =Anhaltische Gemäldegalerie Dessau | year =1998 | edition = 1000 copies made 1st | language =German }}</ref>
*1998 '''Barbara Probst''', published for exhibition at ], Munich Germany, with a short essay by Michael Hofstetter<ref>{{Citation | last = Hofstetter | first = Michael | title =Barbara Probst | place = Munich Germany | pages =10 | publisher =Akadamiegalerie Munich | year =1998 | edition = 1000 copies made 1st | language =German }}</ref>
*1998 '''InExpectation''', published for exhibition at Binder & Rid Gallery, Munich, Germany, with an essay by Thomas Dreher<ref>{{Citation | last =Dreher | first = Thomas | title =InExpectation | place = Munich Germany | pages =19 | publisher =Binder & Rid Gallery | year =1998 | edition = 1000 copies made 1st | language =German }}</ref>
*1994 '''Barbara Probst, My Museum''', published by ], Munich, Germany<ref>{{Citation | title =Barbara Probst, My Museum | place = Munich Germany | pages =14 | publisher =Kulturreferat München | year =1994 | edition = 600 copies made 1st | language =German }}</ref>


==External links== ==External links==
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==References==
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Latest revision as of 17:14, 20 July 2024

Barbara Probst
Barbara Probst at the opening of "still life, obstinacy of things" at Kunsthaus Wien
Born1964 (age 60–61)
Munich, Germany
NationalityGerman
EducationAcademy of Fine Arts, Munich, Kunstakademie Düsseldorf
Known forPhotography
MovementContemporary Art

Barbara Probst (born 1964) is a contemporary artist whose photographic work consists of multiple images of a single scene, shot simultaneously with several cameras via a radio-controlled system. Using a mix of color and black-and-white film, she poses her subjects, positioning each lens at a different angle, and then triggers the cameras’ shutters all at once, creating tableaux of two or more individually framed images. Although the pictures are of the same subject and are taken at the same instant, they provide a range of perspectives. She lives and works in both New York City and Munich. She relocated to New York City in 1997.

Early life and education

Probst was born in Munich. She studied at the Academy of Fine Arts, Munich (Akademie der Bildenden Künste, München) and Kunstakademie Düsseldorf in Germany.

Work

Probst experiments with the temporality and point of view of the shot/counter-shot technique of film by presenting multiple photographs of one scene shot simultaneously with several cameras via a radio-controlled release system. As a result, the subject of the work becomes the photographic moment of exposure itself.

"Barbara Probst investigates the many ambiguities inherent to the photographic image. In her work the relationship of the photographic instant to reality is intensified in two distinct ways whereby the captured moment acquires an almost unsettling quality: on the one hand, Barbara Probst abandons the single-eye gaze of the camera and divides it into various points of view. On the other, she multiplies and diversifies the short moment of the shot. Thanks to a radio-controlled release system she can simultaneously trigger the shutters of several cameras pointed at the same event or subject from different angles and various distances. The depictions of each specific instant generated by this method constitute a series. The relationship of single shots to one another within a series is not determined by a common unifying principle or any stylistic markers. There is no formal proximity and no overall theme to tie the works together. Yet the photographs are bound by a tighter but still elusive link, namely the one and only moment of an exposure which is their very subject."

— Stefan Schessl, "Back to the Beginning", Barbara Probst – Exposures (2002)

Using a radio-controlled release system, or multiple photographers, she simultaneously triggers the shutters of several cameras pointed at the same scene from various viewpoints. The resulting sequences of images suspend time and stretch out the split second. Artistic Director and Publisher of Camera Austria Reinhard Braun writes of this saying:

"Barbara Probst embroils us in different possible interpretations; particularly by apparently focusing on a specific moment in time in the various series, she directs our attention to the time before or after, diverting it away from the meaning of this empictured moment and to the construction of a duration that actually creates the meaning of the action or scene, i.e. that does not give us anything to see but something to think about."

— Reinhard Braun, "An Exposure of Photography: Barbara Probst’s Exposures", Camera Austria International #85 (2004)

Moreover, Probst employs backdrops, often enlarged stills from well-known movies or landscapes. This enhances the sense of artifice by presenting multiple locations within the same moment. Furthermore, equipment such as cameras, studio lights, tripods are visible in the crossfire of images. These including the photographer(s) themselves become subjects of the moment.

Artforum Critic Brian Scholis asserts her work disregards photography's standard concept of “decisive moment,” and instead references cinema's practice of multiple cameras to create movement and diversion in a "Rashomon-like multiplicity of perspectives".

Selected solo exhibitions


Selected group exhibitions

Collections

Editorial work and fashion campaigns

Selected monographs

  • 2024 Barbara Probst. Subjective Evidence, published Hartmann Projects, edited by Kunstmuseum Luzern und FotoFocus/Contemporary Arts Center Cincinnati, with texts by Stefan Gronert, Fanni Fetzer, Kevin Moore, Hartmann Books, Stuttgart 2024
  • 2019 The Moment in Space, published by Le Bal, Paris and Hartmann Projects, with an essay by Frederic Paul
  • 2017 12 Moments, published by Editions Xavier Barral, with an essay by Robert Hobbs
  • 2016 12 Moments, published by Hartmann Projects, with an essay by Robert Hobbs
  • 2013 Barbara Probst, published by Hatje Cantz, Germany, with texts by Felicity Lunn, Jens Erdman Rasmussen, and Lynne Tillman, and an interview with the artist by Frédéric Paul
  • 2008 Barbara Probst – Exposures, published by Steidl, Germany and the Museum of Contemporary Photography, Chicago, with an introduction by Karen Irvine, an interview with Johannes Meinhardt and an essay by David Bate
  • 2002 Barbara Probst, published for exhibition at Cuxhavener Kunstverein, Cuxhaven, Germany, with an essay by Stefan Schessl
  • 1998 Welcome, published for exhibition at Frankfurter Kunstverein, Munich, Germany, with an essay by Thomas Dreher
  • 1998 Through The Looking Glass, published for exhibition at Anhaltische Gemäldegalerie Dessau, Dessau, Germany, with an essay by Thomas Dreher
  • 1998 Barbara Probst, published for exhibition at Akademiegalerie, Munich Germany, with a short essay by Michael Hofstetter
  • 1998 InExpectation, published for exhibition at Binder & Rid Gallery, Munich, Germany, with an essay by Thomas Dreher
  • 1994 Barbara Probst, My Museum, published by Kulturreferat München, Munich, Germany

External links

References

  1. "New Photography 2006: Jonathan Monk, Barbara Probst, Jules Spinatsch". moma.org. Museum of Modern Art. Retrieved April 15, 2019. German artist Barbara Probst experiments with the temporality and point of view of the shot/counter-shot technique of film by presenting multiple photographs of one scene shot simultaneously with several cameras via a radio-controlled release system.
  2. Jenkins, Mark (May 20, 2011). "Barbara Probst's 'Exposures' photographs: Stimulating serendipity". The Washington Post. Retrieved April 15, 2019. The German-born photographer, who divides her time between New York and Munich, leaves little to chance.
  3. Irvine, Karen (April 6, 2007). "Dissected Moments". mocp.org. Museum of Contemporary Photography. Retrieved April 15, 2019. Born in Munich in 1964, she moved to New York in 1997 on a fellowship, staying on to pursue further professional opportunities and to be with the man who became her husband.
  4. "Barbara Probst - The Moment in Space". le-bal.fr. Le Bal. 4 April 2019. Retrieved April 15, 2019. Barbara Probst studied sculpture at the Akademie der Bildenden Künste in Munich and photography at the Kunstakademie Düsseldorf.
  5. "Murray Guy: Barbara Probst". murrayguy.com. Murray Guy Gallery. Retrieved April 15, 2019. 1984 to 90 Akademie der Bildende Kunste, Munich, Germany, 1988 to 89, Kunstakademie Düsseldorf, Germany
  6. "New Photography 2006: Jonathan Monk, Barbara Probst, Jules Spinatsch". moma.org. Museum of Modern Art. Retrieved April 15, 2019. German artist Barbara Probst experiments with the temporality and point of view of the shot/counter-shot technique of film by presenting multiple photographs of one scene shot simultaneously with several cameras via a radio-controlled release system.
  7. Irvine, Karen (April 6, 2007). "Dissected Moments". mocp.org. Museum of Contemporary Photography. Retrieved April 15, 2019. In Exposures Probst displays sensitivity to representational complexity, as she illustrates the myriad ways in which a moment can be depicted, and by extension, experienced.
  8. Schessl, Stefan (2002). Barbara Probst – Exposures. Cuxhaven: Kunstverein Cuxhaven.
  9. Irvine, Karen (April 6, 2007). "Dissected Moments". mocp.org. Museum of Contemporary Photography. Retrieved April 15, 2019. Because her clustered pictures depict the same subject from various angles at precisely the same instant—a feat she achieves using radio controls, synchronized cable releases, and sometimes multiple photographers—they invite us to engage in a game of comparing and contrasting the locations of the cameras and photographers who took them.
  10. Braun, Reinhard (2004). "An Exposure of Photography: Barbara Probst's Exposures". Camera Austria International (in German) (85). Austria: Graz: 9–18. Retrieved April 17, 2019.
  11. Nakamori, Yasufumi (October 2011). "Between Staged and Documentary, Yasufumi Nakamori Meets With Barbara Probst". hcponline.org. Spot Magazine, Houston Center for Photography. Retrieved April 15, 2019. The prismatic effect is heightened when backdrops, often enlarged stills from well-known movies are employed, or when you choose to shoot at an outside location in Manhattan.
  12. Nakamori, Yasufumi (October 2011). "Between Staged and Documentary, Yasufumi Nakamori Meets With Barbara Probst". hcponline.org. Spot Magazine, Houston Center for Photography. Retrieved April 15, 2019. Each image tells the same story in a different way, yet at the same time it carries the same amount of "truth" as the others in the series. This contradiction blanks out the narrative of the images and turns them into a facade without a construction. These circumstances cannot be investigated in film, because the images in film are in chronological sequence and not simultaneous.
  13. Nakamori, Yasufumi (October 2011). "Between Staged and Documentary, Yasufumi Nakamori Meets With Barbara Probst". hcponline.org. Spot Magazine, Houston Center for Photography. Retrieved April 15, 2019. Both illusion and device are always manifest cameras, studio lights, tripods are often all visible, as if you are not interested in creating a seamless image of constructed reality, or a constructed moment.
  14. Scholis, Brian (May 2006). "Barbara Probst at Murray Guy". artforum.com. Artforum. Retrieved April 17, 2019. The Rashomon-like multiplicity of perspectives synthetically prolongs the cameras' "decisive moment," and this clash of temporal registers was the exhibition's most salient quality.
  15. "Barbara Probst. Subjective Evidence". www.kunstmuseumluzern.ch/en/. Retrieved 2024-07-18.
  16. "Barbara Probst, The Moment in Space". le-bal.fr. Le Bal. 4 April 2019. Retrieved April 17, 2019.
  17. "Barbara Probst - Total Uncertainty". galerierudolfinum.cz. Galerie Rudolfinum. Retrieved April 15, 2019. In presenting Probst's visually rich and conceptually rooted work, Galerie Rudolfinum follows up on its series of solo exhibitions by photographers such as Jürgen Klauke, Gregory Crewdson, Shirana Shahbazi, and Bernd and Hilla Becher.
  18. "Barbara Probst". pasquart.ch. Pasquart Kunsthaus. Retrieved April 15, 2019. The exhibition and accompanying publication are a collaboration between the Kunsthaus CentrePasquArt, the Centre for Photography, Copenhagen and Rudolfinum, Prague.
  19. "Barbara Probst". kb.dk. Der KGL Bibliotek. Retrieved April 15, 2019. The exhibition in the National Museum of Photography presents pieces created between 2005 and 2012 from the series Exposures, and will be the artist's first solo exhibition in Denmark.
  20. "Oldenburger Kunstverein:Barbara Probst". oldenburger-kunstverein.de. Oldenburger Kunstverein. Retrieved April 15, 2019. Die Fotografin Barbara Probst untersucht die Vieldeutigkeit und Fragwürdigkeit des fotografischen Bildes.
  21. "Barbara Probst". stills.org. Stills Gallery. Retrieved April 15, 2019.
  22. "Barbara Probst". paris-art.com. Paris Art. 2 October 2008. Retrieved April 15, 2019.
  23. Smith, Jennifer (December 16, 2008). "Photographic juxtapositions in Barbara Probst exhibit at MMoCA". isthmus.com. Isthmus. Retrieved April 15, 2019. In a new exhibition at the Madison Museum of Contemporary Art, German-born photographer Barbara Probst confronts these issues in ways that are not only visually appealing but also offer, at times, an understated humor.
  24. "Barbara Probst: Exposures". mocp.org. Museum of Contemporary Photography. 2 October 2008. Retrieved April 15, 2019.
  25. "Perfect Likeness: Photography and Composition". hammer.ucla.edu. The Hammer Museum, UCLA. Retrieved April 15, 2019. Since the late 1970s, however, a number of photographers have been engaged with a renewed investigation of composition and thus, inevitably, with the historically devalued concept of the pictorial. These include Thomas Demand, Stan Douglas, Roe Ethridge, Andreas Gursky, Annette Kelm, Elad Lassry, Florian Maier-Aichen, Barbara Probst, Jeff Wall, and Christopher Williams, among others.
  26. "Eyes on the Street". cincinnatiartmuseum.org. Cincinnati Art Museum. Retrieved April 15, 2019. Artist list: Olivo Barbieri, Philip-Lorca diCorcia, Jason Evans, Paul Graham, Mark Lewis, Jill Magid, James Nares, Barbara Probst, Jennifer West, Michael Wolf
  27. "(Mis)Understanding Photography Works and Manifestos". museum-folkwang.de. Museum Folkwang. Retrieved April 15, 2019. Participating artists Works: Claudia Angelmaier, Michael Badura, Sylvia Ballhause, Laura Bielau, Viktoria Binschtok, Kristleifur Björnsson, Bernhard Blume, Christian Boltanski, Günter Karl Bose, Johannes Brus, Michel Campeau, Sarah Charlesworth, Jojakim Cortis & Adrian Sonderegger, Tacita Dean, Bogomir Ecker, Hans Eijkelboom, Hans-Peter Feldmann, Joan Fontcuberta, Florian Freier, Katharina Gaenssler, Jochen Gerz, G.R.A.M., Aneta Grzeszykowska, Jeff Guess, Rudolf Herz, John Hilliard, Alfredo Jaar, Kenneth Josephson, Erik Kessels, Jochen Lempert, Zoe Leonard, Les Levine, Zbigniew Libera, Stanislaw Markowski, Santu Mofokeng, Ugo Mulas, Andreas Müller-Pohle, Renate Heyne & Floris M. Neusüss, Peter Piller, Steven Pippin, Richard Prince, Barbara Probst, Arnulf Rainer, Timm Rautert, Benjamin Rinner, Józef Robakowski, Thomas Ruff, Ed Ruscha, Adrian Sauer, Joachim Schmid, Pavel Maria Smejkal, Michael Snow, Clare Strand, Larry Sultan & Mike Mandel, Vibeke Tandberg, Ulrich Tillmann & Wolfgang Vollmer, Wolfgang Tillmans, Axel Töpfer, Timm Ulrichs, Franco Vaccari, Matthias Wähner, Gillian Wearing, Jan Wenzel, Christopher Williams, Akram Zaatari
  28. "Per Speculum Me Video". fkv.de. Frankfurter Kunstverein. Retrieved April 15, 2019. Participating artists: Pauline Boudry & Renate Lorenz (CH/DE, Berlin), Martin Brand (DE, Köln), Manuela Kasemir (DE, Leipzig), Sabine Marte (AT, Wien), Benny Nemerofsky Ramsay (CA, Berlin), Barbara Probst (DE, New York), Johanna Reich (DE, Köln), Eva Weingärtner (DE, Offenbach), Gilda Weller (DE, Frankfurt)
  29. "Lost Places". hamburger-kunsthalle.de. Hamburger Kunsthalle. Retrieved April 15, 2019. The exhibition features the following artists among others: Thomas Demand (1964), Omer Fast (1972), Beate Gütschow (1970), Andreas Gursky (1955), Candida Höfer (1944), Sabine Hornig (1964), Jan Köchermann (1967), Barbara Probst (1964)
  30. "elles@pompidou, Artistes femmes dans les collections du Musée national d'art moderne". centrepompidou.fr. Centre Pompidou. Retrieved April 15, 2019.
  31. "Mixed Use, Manhattan, Photography and Related Practices 1970s to the present". museoreinasofia.es. Museo Nacional Centro de Arte Reina Sofia. Retrieved April 15, 2019. Artists:Alvin Baltrop, Bernd Becher, Hilla Becher, Dara Birnbaum, Jennifer Bolande, Stefan Brecht, Matthew Buckingham, Tom Burr, Roy Colmer, Moyra Davey, Terry Fox, William Gedney, Bernard Guillot, David Hammons, Sharon Hayes, Peter Hujar, Joan Jonas, Janos Kender, Louise Lawler, Zoe Leonard, Sol LeWitt, Glenn Ligon, Robert Longo, Vera Lutter, Danny Lyon, Babette Mangolte, Gordon Matta-Clark, Steve McQueen, John Miller, Donald Moffett, James Nares, Max Neuhaus, Catherine Opie, Gabriel Orozco, Barbara Probst, Emily Roysdon, Cindy Sherman, Charles Simonds, Thomas Struth, James Welling, David Wojnarowicz, Christopher Wool
  32. "SFMOMA to Present Exposed: Voyeurism, Surveillance and The Camera Since 1870". artdaily.com. Art Daily. Retrieved April 15, 2019. From shots used to identify suffragettes and anarchists to prisoner Rudolf Cisar's clandestine views of Dachau, photography has been crucial to a wide variety of surveillance projects, both political and private. This section juxtaposes FBI photographs and military reconnaissance shots with work by contemporary artists who have critiqued or appropriated the technologies of surveillance, including Jordan Crandall, Bruce Nauman, Barbara Probst, and Thomas Ruff.
  33. "Exposed: Voyeurism, Surveillance and the Camera". tate.org.uk. Tate Modern. Retrieved April 15, 2019.
  34. "Exposed, Voyeurism, Surveillance, and the Camera since 1870". sfmoma.org. San Francisco MOMA. Retrieved April 15, 2019.
  35. "Exposed: Voyeurism, Surveillance, and the Camera Since 1870". walkerart.org. walker Art Center. Retrieved April 15, 2019.
  36. "New Photography 2006: Jonathan Monk, Barbara Probst, Jules Spinatsch". moma.org. Museum of Modern Art. Retrieved April 15, 2019. German artist Barbara Probst experiments with the temporality and point of view of the shot/counter-shot technique of film by presenting multiple photographs of one scene shot simultaneously with several cameras via a radio-controlled release system.
  37. "Exposure #9 : NYC, Grand Central Station, 12.18.01, 1:21 P.M." centrepompidou.fr. Centre Pompidou. Retrieved April 16, 2019.
  38. Gaertner, Jonna (January 30, 2013). "Kommentare Zur Ausstellung". lenbachhaus.de. Lenbechhaus. Retrieved April 16, 2019. KUNST IST … SCHÖN, wenn sie einen anspricht. „Besonders gut hat mir die Bilderreihe von Barbara Probst gefallen! Sehr gut zum Mitraten und überlegen, was passiert ist!"
  39. "Collection, Artist, Barbara Probst". collections.lacma.org. Los Angeles County Museum of Art. Retrieved April 16, 2019.
  40. "Collections, Barbara Probst". e-mca.ti.ch. Museo Cantonale d'Arte. Retrieved April 17, 2019.
  41. "Barbara Probst, Collection". mcachicago.org. Museum of Contemporary Art, Chicago. Retrieved April 16, 2019.
  42. "Museum of Contemporary Photography Collection Highlight". mocp.org. Museum of Contemporary Photography. Retrieved April 17, 2019.
  43. "Search the Collection: Barbara Probst". mfah.org. Museum of Fine Arts Houston. Retrieved April 17, 2019.
  44. "Barbara Probst, Exposure #30: N.Y.C., 249 W 34th Street, 11.20.04, 2:27 p.m. 2004". moma.org. Museum of Modern Art. Retrieved April 15, 2019.
  45. "Search the Collection: Barbara Probst". gallery.ca. National Gallery of Canada. Retrieved April 16, 2019.
  46. "Barbara Probst". sammlung.pinakothek.de. Pinakothek der Moderne. Retrieved April 16, 2019.
  47. "Barbara Probst, Exposure #11A: N.Y.C., Duane & Church Streets 06.10.02, 3:07 p.m., 2002". sfmoma.org. San Francisco Museum of Modern Art. Retrieved April 15, 2019.
  48. "Exposure #56: N.Y.C. 428 Broome Street 06.05.08, 1:42 pm 2008". whitney.org. Whitney Museum. Retrieved April 15, 2019.
  49. "Vogue Italia, The Gaze". models.com. Models.com. January 2019. Retrieved April 17, 2019.
  50. Stathaki, Ellie (June 14, 2018). "We go people watching at Annabelle Selldorf's 42 Crosby". wallpaper.com. Wallpaper Magazine. Retrieved April 17, 2019. elldorf's sophisticated approach and the building's strategic location – a stone's throw from Soho's busiest streets, yet at a slightly calmer part of town – made it the perfect setting for our main July issue fashion story, 'Double Take', shot by renowned German artist and conceptual photographer Barbara Probst, expertly mixing streetlife scenes with chic animal prints.
  51. "Out Now: Remastered". amodernmatter.com. Modern Matter. December 12, 2018. Retrieved April 17, 2019. Fashion by Barbara Probst.
  52. "16 Cameras Capture One Fashion Moment at Philip Johnson's Glass House". garage.vice.com. Garage Magazine. September 4, 2018. Retrieved September 4, 2018. At 199 Elm Street, New Canaan, CT, on 18 April 2018, at 4:12:32 p.m., Barbara Probst fired 16 cameras, all at once, for this Fall fashion story at the famed architectural landmark.
  53. Tindle, Hannah (February 15, 2017). "The Photographer Behind Marni's Mischievous S/S17 Campaign". anothermag.com. AnOther. Retrieved April 17, 2019. Barbara Probst is renowned for producing images that comment upon the seductive and illusory effect that photography so often employs. Cameras, studio lights and photographic equipment are intentionally made visible in her work and, as a consequence, the processes of image making become exposed to the viewer. When she began to work with the medium, Probst was initially interested in dissecting what a photograph actually is and how it functions, finding interest not in the subject itself, but rather in the many ways she could document it. Fascinated by the fact that there are countless ways of representing one and the same moment depending on the decisions of the photographer, she exploited this intrigue for the Marni S/S17 campaign, creating a mischievous subversion of the fashion photoshoot, with models appearing to turn the lens back onto her. Here, Probst speaks with AnOther about balancing photographic power, challenging the limitations of one-dimensional storytelling and some of the practitioners that so inspire what she does.
  54. Macchia, Di Susanna (July 25, 2017). "Intervista a Barbara Probst". vogue.it. Vogue Italia. Retrieved April 17, 2019. Fotografa e visual artist, Barbara Probst ha ritratto per "Vogue" (p.110) due ragazze identiche, usando due macchine fotografiche in simultanea: un inedito, duplice punto di vista.
  55. Hobbs, Robert (2017), Barbara Probst: 12 Moments (in French), Paris, France: Editions Xavier Barral, p. 68, ISBN 978-2-36511-119-5
  56. Hobbs, Robert (2016), Barbara Probst: 12 Moments, Stuttgart, Germany: Hartmann Books, p. 63, ISBN 9783960700050
  57. Tillman, Lynne; Lunn, Felicity; Rasmussen, Jens Erdman; Frederic, Paul (2014), Barbara Probst, Germany: Hatje Cantz, p. 240, ISBN 978-3775737111
  58. Irvine, Karen; Meinhardt, Johannes; Bate, David (2008), Barbara Probst Exposures, Göttingen, German, Chicago, IL: Steidl and Museum of Contemporary Photography, Chicago, p. 108, ISBN 9783865213921
  59. Schessl, Stephan (2002), Barbara Probst (in German) (1000 copies made 1st ed.), Cuxhaven, Germany: Kunstverein Cuxhaven, p. 27
  60. Dreher, Thomas (1998), Welcome (in German) (1000 copies made 1st ed.), Munich, Germany: Frankfurter Kunstverein, p. 19
  61. Dreher, Thomas (1998), Through The Looking Glass (in German) (1000 copies made 1st ed.), Dessau, Germany: Anhaltische Gemäldegalerie Dessau, p. 19
  62. Hofstetter, Michael (1998), Barbara Probst (in German) (1000 copies made 1st ed.), Munich Germany: Akadamiegalerie Munich, p. 10
  63. Dreher, Thomas (1998), InExpectation (in German) (1000 copies made 1st ed.), Munich Germany: Binder & Rid Gallery, p. 19
  64. Barbara Probst, My Museum (in German) (600 copies made 1st ed.), Munich Germany: Kulturreferat München, 1994, p. 14
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