Robert A. Schaefer, Jr.

Cyanotypes of India and Germany

Jantar Mantar – Misra Yantra, New Delhi (2009)

Robert A. Schaefer, Jr.

Cyanotypes of India and Germany

Part - IGovernment Museum and Art Gallery

November 11th -16th, 2010

Sector 10C, Chandigarh

Part - IIGoethe-Institut / Max Mueller Bhavan

November 18th - 24th, 2010

3, Kasturba Gandhi Marg, New Delhi

3, Kasturba Gandhi Marg, New Delhi+91 11 23471100

www.goethe.de/newdelhi

Oktoberfest I, II, III, (triptych), Munich (1976 )

3

Photography allows the spirit of the mind and its eye to move into different dimensions to capture that which it sees and that which it envisions to see. 19th century processes enable a much deeper realisation of this power, yet, again of the spirit of a romantic window into the diverse, often newly discovered energies and elements of a far-off site, a forgotten locus, an exotic or verboten territory. Consider the pioneering explorers of the Eastern realms and the camera, such as John Thomson (Scottish, d.1921), and Felice Beato (Italian-British, d.1909), the Lord Curzon-led Younghusband Expedition to Tibet (1903-1904), or the Himalayan subjects of Andrey Avinoff (Russian-American, d.1949), in such homage to the composition of the printed object.

In essence, a more organic, tangible technique enables the unseen facets of the captured imagery to materialise. A heightened sense of timelessness and fluidity arise from Robert A. Schaefer, Jr.’s photographs. Classic architectural edifices and monuments seem bathed in an early morning light, further configuring the hand of nature. His is a strong visual language which connects memory, thought, iconic forms and mannerisms, in an idiosyncratic voice of narration. (As a referential note, In Situ: Architecture and Landscape, the 2009/2010 exhibition at the Museum of Modern Art in New York.)

Power of the colour blue spans cultures and or perception of a large dimension of nature – in particular the sky and the sea, long sources of primary inspiration for creative depiction. Furthermore, within Indian culture blue has imprinted associations with deities. Another imposing incorporation of the colour in an almost heraldic symbol is the configuration of thick and thin blue lines on the edge of the saris worn by the sisters of Mother Teresa’s Missionaries of Charity in Kolkata. Demonstrated by the adaptation of the cyanotype process, one can realise the “blue image” on treated fabric as well, thereby conjuring another significant textile tradition of indigo.

Whether it is the shared experience of the built environment, the psychological and metaphorical aspects of theory and design, or the physical construction itself, the very qualities of architecture have inspired visual artists for centuries. One thread that many artists have recently investigated is the creation of memory and its relationship to architecture. Cultural or individual memory, both real and imagined, has been explored in many of these works. With their commanding presence and sometimes troubled histories, buildings (and monuments) are mediators of the past and are, arguably, the strongest medium of our collective consciousness. Through built spaces, communities articulate ideologies, create social, race, ethnic and class relationships, construct histories and inform the unconscious.

This brings one to the discourse of Dr. Oliver Sacks, the neurologist, explored in his new tome, The Mind’s Eye (Albert Knopf, 2010), the retention of the visual image and shifting perceptions of colour and tonalities, with rendered distortions via lasers as if hallucinations of geometric patterns. Just as one learns to read photography in two dimensions, as opposed to stereoscopic depictions. It is duly noted in Sacks’earlier pioneering work on colour-blindness, in particular in light of the colour-specificity of Schaefer’s cyanotype oeuvres through which he builds a realm of history, a passageway of visual recording, shaded through a personal, albeit shared timeline.

This was aptly examined in Susan Sontag’s 1966 monumental book Against Interpretation. “Interpretation is the revenge of the intellect upon art,” she wrote, arguing that to seek understanding from art is to impoverish its meaning. Sontag saw photographs as objects unto

themselves, to be viewed for their spatial and tonal relation to the frame, without any attempt to provide a larger, more “meaningful” context.

In his personal trajectory to construct his photographic world, Schaefer became interested in photographic processes invented in the 19th Century. His favourite one became the cyanotype because he felt it enhanced the light surreal direction of his imagery. Lyle Rexer in his book Photography’s Antiquarian Avant-garde, (Abrams, 2002) commenting on Schaefer’s cyanotypes says, “The work of former architect Robert Schaefer marries the process to a Machine Age aesthetic of urban geometrics and industrial technologies…Schaefer also reverses himself with a blue neo-Impressionism; images that might have originated in the Photo-Secession and photography’s embrace of painting.” Just as one ponders: How does the past accumulate in built space and in what ways does this space shape our individual memory? What of the past is an actual memory and what is a fantasy or our miss-remembering? How has architecture played a role in this process? Is memory the residue of the individual lives and interactions that shape architecture or is it that architecture imposes itself on our memory?

Three years ago I met Robert Schaefer in New York City through our mutual friend and photographer Felicia Murray. When I saw Robert’s cyanotypes, I responded immediately and poetically mused that he should photograph sites in India. Two predominant forces surfaced. One was the architectural direction in Robert’s photography and how he would capture historic sites such as Jantar Mantar and Humayun’s Tomb, and the modern era French architect Le Corbusier’s designs for the city plan and government complex of Chandigarh. Eventually, we thought to incorporate Raj Rewal and his Parliament Library (2003). The other context is the Prussian blue colour of the cyanotype print. Apparently, as I was later to learn, a cyanotype restorer resides in Chennai and there are several examples in the Alkazi Foundation for the Arts Collection in New Delhi. His extensive earlier work during years of study and residency in Germany constituted the final side of the exhibition equation.

This project celebrates the melding of place and time, of the colour blue, of architectural visions of the past and present. It recognises the routes and journeys of form and the timeless inspirations which continue to influence creativity. In the words of the Kenyan author, Ngugi Wa Thiong’O, an attempt to herald “the importance of creating literature in small languages to preserve world cultures.” (From a live interview on National Public Radio, October 2010) I am grateful for this past year and a half since visualising this endeavour, to Robert Schaefer for his eye, disciplined skill and integral sensitivity for his subjects. Similarly, to Goethe-Institut for sharing our passion and supporting such myriad undertakings. Lastly, my sincere remerciements to friends and family across the globe, and the so many acknowledged individuals and institutions for their collaborative spirit and indefatigable enthusiasm.

ElIzAbEth RoGERS

Graduate of Harvard University (B.A.), Institut d’Etudes Politiques (C.E.P.) and Institut des Civilisations et Langues Orientales

(matrise, Paris), Beijing and Fudan Universities (P.R.C.), and Yale University (M.A. amd M.F.A.), she has curated exhibitions of

Asian art across the globe. She was the Assistant Director of the Museum at Japan Society (New York), and the Director

of the Jacques Marchais Museum of Tibetan Art (New York).

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Chandigarh Exhibition: List of Cyanotype Works

Chandigarh - Government Buildings by Le Corbusier1. the Assembly building I, 2009, 10" x 15" (3/20)

2. the Assembly building and the Secretariat, 2009, 9" x 15" (3/20)

3. the Assembly building II, 2009, 10 ¼" x 15" (3/20)

4. Reflection of the Assembly Building, 2009, 5 ¾" 8 ¼" (3/20)

5. Roof of the Assembly building, 2009, 10 3/8" x 15" (3/20)

6. Rear Entrance to the high Court, 2009, 10" x 15" (3/20)

7. the open hand I, 2009, 10 3/8" x 15" (3/20)

8. the open hand II, 2009, 15" x 10 3/8" (3/20)

9. the high Court – Street Facade, 2009, 15" x 10 3/8" (3/20)

10. the Secretariat III, 2009, 10 ¼" x 15" (3/20)

11. Assembly building III, 2009, 10 3/8" x 15" (3/20)

12. Atrium of Rear Entrance to high Court, 2009, 10 3/8" x 14 5/8" (3/20)

13. Rear Atrium of high Court – Ceiling Detail, 2009, 10 3/8" x 15" (3/20)

14. the Secretariat I, 2009, 15" x 10 3/8" (3/20)

15. Entrance to the High Court, 2009, 15" x 9 ¾" (3/20)

16. Partial View of The Secretariat, 2009, 10 ¾" x 15" (3/20)

17. Pavilion between High Court and Assembly Bldg., 2009, 10 ¾" x 15" (3/20)

18. Entrance to The Secretariat, 2009, 8 ¼" x 5 ¾" (3/20)

19. Facade Detail of The Assembly Building, 2009, 5 ¾" x 8 ¼" (3/20)

20. Rear Atrium of The High Court, 2009, 8 ¼" x 5 ¾" (3/20)

21. Rear Facade of The High Court, 2009, 8 ¼" x 5 ¾" (3/20)

22. The High Court, 2009, 5 ¾" x 8 ¼" (3/20)

23. Detail of The Assembly Building, 2009, 8 ¼" x 5 ¾" (3/20)

24. Balcony Detail of The Secretariat, 2009, 5 ¾" x 8 ¼" (3/20)

25. Roof of the Secretariat, 2009, 6 ¼" x 9" (3/20)

26. The Secretariat II, 2009, 5 ¾" x 8 ¼" (3/20)

27. The Secretariat – Rear Facade, 2009, 5 ¾" x 8 ¼" (3/20)

Germany1. Street Crossing, Munich, 1977, 10 ¼" x 14 7/8" (3/20)

2. VW in Mirror, Munich, 1977, 15" x 10" (3/20)

3. Visitor’s Center II, berlin, 2005, 15 3/8" x 10 ¼" (3/20)

4. Visitor’s Center I, Berlin, 2005, 5 ¾" x 8 ¼" (4/20)

5. Antique Shop, Munich, 1977, 8 ¼" x 5 ½" (4/20)

6. Curiosity Shop, Munich, 1977, 8 ¼" x 5 ¾" (3/20)

7. Train Station, Hannover, 1979, 5 ¾" x 8 ½" (3/20)

8. Plexiglass Roof of 1972 olympic Games bldg.I, Munich, 1977, 6 ¼" x 9" (3/20)

9. Plexiglass Roof of 1972 olympic Games bldg.II, Munich, 1977, 6 ¼" x 9" (3/20)

10. Market Square “Alte Wache,” Frankfurt, 1979, 5 ¾" x 8 ¼" (4/30)

11. Bicycle Tire at Flea Market, Munich, 1977, 5 ¾" x 8 ¼" (3/20)

12. Train Station, Munich, 1976, 5 ¾" x 8 ¼" (3/20)

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5

Delhi Exhibition: List of Cyanotype Works

Historic Architectural Sites1. Qutab Minar Tower, New Delhi, 2009, 8 ¼" x 5 ¾" (3/20)

2. taj Mahal (Side View), Agra, 2009, 10 3/8" x 14 7/8" (3/20)

3. Taj Mahal (Back View through Gate), Agra, 2009, 5 ¾" x 8 ¼" (3/20)

4. Humayun’s Tomb - Side Building Entrance, New Delhi, 2009, 5 ¾" x 8 ¼" (3/20)

5. Humayun’s Tomb, New Delhi, 2009, 5 ¾" x 8 ¼" (3/20)

6. Jantar Mantar – Ram Yantra I, New Delhi, 2009, 8 7/8" x 6" (3/20)

7. Jantar Mantar – Ram Yantra II, New Delhi, 2009, 8 7/8" x 6" (3/20)

8. Jantar Mantar – Jaya Prakasa, New Delhi, 2009, 14 7/8" x 10 1/8" (3/20)

9. Jantar Mantar – Misra Yantra, New Delhi, 2009, 10 1/8" x 14 ¾" (3/20)

10. Jama Masjid Mosque, Delhi, 2009, 5 ¾" x 8 ¼" (3/20)

11. Wall on the Grounds of Qutab Minar tower, New Delhi, 2009, 15" x 10 ¼" (3/20)

12. temples, Fatehpur Sikri, 2009, 10 ¼" x 14 7/8" (3/20)

13. building Window on Grounds of humayun’s tomb, New Delhi, 2009, 15" x 10 ¼" (3/20)

14. Reflection of Taj Mahal, Agra, 2009, 8 ¼" x 5 ¾" (3/20)

Parliament Library1. Detail of Roof Garden overhang, New Delhi, 2009, 10 ¼" x 15" (3/20)

2. View of Courtyards from Roof Garden, New Delhi, 2009, 10 ¼" x 15" (3/20)

3. Ceiling of the Entrance hall, New Delhi, 2009, 10 ¼" x 15" (3/20)

4. Zig-zag Wall of Roof Garden, New Delhi, 2009, 8 ¼" x 5 ¾" (3/20)

5. Courtyard Facade I, New Delhi, 2009, 5 ¾" x 8 ¼" (3/20)

6. Reflective Glass Ceiling, New Delhi, 2009, 5 ¾" x 8 ¼" (3/20)

7. Entrance Hall (Reinterpretation of a Yantra), New Delhi, 2009, 5 ¾" x 8 ¼" (3/20)

8. Courtyard II, New Delhi, 2009, 8 ¼" x 5 ¾" (3/20)

9. Skylight and Roof Garden, New Delhi, 2009, 5 ¾" x 8 ¼" (3/20)

Germany

1. Train Station, Hannover, 1979, 5 ¾" x 8 ½" (4/20)

2. Market Square “Alte Wache,” Frankfurt, 1979, 5 ¾" x 8 ¼" (3/20)

3. VW in Mirror, Munich, 1977, 8 ¼" x 5 ¾" (3/20)

4. Street Crossing, Munich, 1977, 10 ½" x 15" (4/20)

5. Elektro licht Kraft Sign, Munich, 1976, 8 ½" x 5 5/8" (5/20)

6. Antique Shop, Munich, 1977, 14 ¾" x 9 1/8" (3/20)

7a. oktoberfest I, Munich, 1976, 9" x 6 ½" (3/20)

7b. oktoberfest II, Munich, 1976, 9" x 6 ½" (3/20)

7c. oktoberfest III, Munich, 1976, 9" x 6 ½" (3/20)

8. Plexiglass Roof of 1972 olympic Games bldg., Munich, 1977, 6 ¼" x 9" (2/20)

9. Visitor’s Center I, berlin, 2005, 10 ¼" x 15" (7/20)

10. Theater Festival Box Office, Munich, 1979, 10 ¼" x 15" (3/20)

11. bicycle tire at Flea Market, Munich, 1977, 10 ¼" x 15" (3/20)

12. Curiosity Shop, Munich, 1977, 8 ¼" x 5 ¾" (3/20)

13. train Station, Munich, 1976, 10 ¼" x 15" (3/20)

6

Temples, Fatehpur Sikri (2009)

7

historic Architectural Sites

Having visited in 1972 Spain’s Alhambra in Granada and the Mesquite in Cordoba, I was aware of the influence that the Moors had in countries they had invaded. Looking at similar influences in the development of architecture from this period in Northern India (Moghul Style) such as Humayun’s Tomb and the Taj Mahal was a historical feast. Conversely, I was completely mesmerized by Jantar Mantar and the modernity of its forms. I spent quite a lot of time contemplating how such elements and volumes were selected for the study of astronomy and actual planetary changes as well as predictions of eclipses in the early part of the 18th Century. RAS

Taj Mahal (Side View), Agra (2009)

Taj Mahal (Back View through Gate), Agra (2009)

8

Humayun’s Tomb, New Delhi (2009)

9

Humayun’s Tomb - Side Building Entrance, New Delhi (2009) Side Building Window on Grounds of Humayun’s Tomb, New Delhi (2009)

10

Jantar Mantar – Ram Yantra I, New Delhi (2009) Jantar Mantar – Jaya Prakasa, New Delhi (2009)

11

Qutab Minar Tower, New Delhi (2009) Wall on the Grounds of Qutab Minar Tower, New Delhi (2009)

12

The Assembly Building and the Secretariat, Chandigarh (2009)

13

Chandigarh

During my architectural studies at Auburn University in Alabama and the Technische Universitaet in Munich, I often observed and contemplated the work of the French architect Le Corbusier. Subsequently, in my travels to Europe, I visited many of his structures in France such as the Chapel of Nôtre Dame du Haute at Ronchamp, the Maison Du Brésil in Paris and the Unité d’ Habitation in Marseilles. I was also aware of the new town Le Corbusier had designed for Chandigarh after it became the capital of the Punjab, and wanted to visit it. Although gaining permission to photograph the main government buildings designed by Le Corbusier was quite exhausting, it was well worth the effort to be able to experience these pillars of modern architecture by standing in front of them while sketching them with my camera. RAS

The Assembly Building, Chandigarh (2009)

The Assembly Building I, Chandigarh (2009)

14

Roof of the Assembly Building, Chandigarh (2009)

15

Reflection of the Assembly Building, Chandigarh (2009)

16

Rear Entrance to the High Court, Chandigarh (2009)

The Open Hand I, Chandigarh (2009)Insert: The Open Hand II, Chandigarh (2009)

17

18

Ceiling of the Entrance Hall, New Delhi (2009)

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Parliament library

My first thought of seeing the Parliament Library designed by architect Raj Rewal in New Delhi was old becomes new in the third dimension called architecture. I immediately saw elements from earlier centuries of Indian architecture brilliantly made modern in their forms and volumes. The use of local sandstone both inside and outside speaks to the history of Indian architecture as well as providing sustainability to the overall design. The roof garden not only adds to the concept of sustainability, it provides additional outdoor spaces as well as natural climate control. The Parliament Library is a prime example of the direction architecture should be taking in the 21st Century. RAS

Entrance Hall (Reinterpretation of a Yantra), New Delhi (2009)

Skylight and Roof Garden, New Delhi (2009)

20

View of Courtyards from Roof Garden, New Delhi (2009)

21

Detail of Roof Garden Overhang, New Delhi (2009)

22

Reflective Glass Ceiling, New Delhi (2009)

23

Courtyard II, New Delhi (2009) Zig-zag Wall of Roof Garden, New Delhi (2009)

24

Germany

Though I am third generation German, I was never introduced to the culture or language while growing up in North Alabama, USA. On my first trip to Europe in 1972, my grandfather insisted that I stay with relatives in Germany I never knew we had. Thus, I embarked on not only learning German but deciding to get my Masters of Architecture and City Planning Degree (Diplom Ingenieur Architekt) at the Technische Universitaet in Munich. These images were taken in part during the six years I lived in Germany and on subsequent visits thereafter. They take German themes and locations into my photographic world of layered structure and shadow. RAS

Plexiglass Roof of 1972 Olympic Games Building, Munich (1977)

Market Square – ‘Alte Wache’, Frankfurt (1979)

25

Train Station, hannover (1979)

26

27

Visitor’s Center II, berlin (2005)

Visitor’s Center I, berlin (2005)

28VW in Mirror, Munich (1977)

29

Antique Shop, Munich (1977) Elektro Licht Kraft Sign, Munich (1976)

30

In the Fall of 2008 in New York City, a mutual friend introduced me to Elizabeth Rogers. At the

time, she saw a portfolio of my cyanotypes and later suggested that I should go to India and

produce a body of work printed with the cyanotype process. She proceeded to help me plan my

trip, and in November 2009, I traveled to India and Bangladesh for the first time.

My studies are in architecture and photography, thus the initial direction of my trip was to

photograph the government buildings designed by the French architect Le Corbusier in

Chandigarh, India as well as the parliament buildings by American architect Louis Kahn in Dhaka,

Bangladesh. (The documentary movie My Architect by Kahn’s son Nathaniel shows this wonderful

complex of buildings.) My plan was to visit these sites and print the captured images using the

cyanotype process.

This process was invented in 1842 by Sir John Herschel in England to make the printing of

photographs easier than its first process - the daguerreotype. The cyanotype process uses some

type of paper (other materials such as cloth may also be used) coated with chemicals making it

light sensitive. The negative is placed on top of the paper along with a sheet of glass to weight

it down and then put under ultra-violet light such as the sun or black light. The result is a

monochromatic, Prussian blue photograph. Instead of a negative, objects can be placed on top of

the coated paper and exposed producing what is called a photogram. Although I have used other

processes discovered in the 19th Century such as platinum, palladium and gum-bichromate, I feel

that the resultant blue of the cyanotype process enhances the light surreal quality of my imagery

and gives a science-fiction quality to my cityscapes. Cyanotype, like most of the 19th Century

processes, is a contact process meaning that the negative is the same size as the print. Therefore,

for each print, I have to make a digital negative to produce the print. In 1870, another use for

Architectural Blue

the cyanotype was discovered - the blueprint used by architects and engineers to copy drawings.

I was well aware of blueprints having viewed them as a child during the building of our home

and later as a student of Architecture at Auburn University in Alabama and then the Technische

Universität in Munich, Germany.

I landed in Delhi where she had arranged a meeting with the then Director of the Goethe-Institut/

Max Mueller Bhavan to see if they might be interested in hosting an exhibition of German images

taken during the time I lived in Munich (1975 to 1981) printed with the cyanotype process. The

meeting with Dr. Stefan Dreyer went very well; he expressed interest in a future exhibition and

suggested that I contact the Goethe Zentrum in Chandigarh. Concurrently, Elizabeth introduced

me to Raj Rewal, the architect of the Parliament Library, which we had arranged for me to

photograph.

Architectural blue incorporates my two mediums of architecture and photography under the

themes of India and Germany. In selecting the cyanotype process to print them, I acknowledge

the relationship this hue of blue holds for India and the relationship that India has to19th Century

photographic processes in general as documented and preserved at the Alkazi Foundation in

Delhi. I look forward to exhibiting this body of work in India and am deeply grateful to Elizabeth

Rogers and the Goethe-Instititut/Max Mueller Bhavan for their diligent work in helping me

produce Architectural Blue.

Robert A. Schaefer, Jr.

New York City, August 2010

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31

oNE PERSoN EXhIbItIoNS

Windows on Columbus, Jersey City, NJ, 2009

Museum of Fine Arts, Montgomery, Al 2007 – 2008

Gallery DeFrog, houston, tX, 2006

Chamot Gallery, Jersey City, NJ, 2003

huntsville Museum of Art, huntsville, Al, 1999 – 2000

AGNES (Gallery) birmingham, Al, 1999

barbara Ann levy Gallery, New York City, NY, 1999

Aroma Gallery, berlin, Germany, 1995, 1997

2-1/2 x 4-1/2 Fotogalerie, Amsterdam, holland, 1988, 1992

oysterponds historical Society, orient (long Island), NY, 1992

the Singers Forum Art Gallery, New York, NY, 1991

Puchong Gallery, New York, NY, 1987

Soho Photo Gallery, New York City, 1984,1986, 1987, 1990

black River Galleries, South haven, Michigan, 1982

l’ Institut Français de Munich, Munich, Germany, 1980

Museum of Fine Arts, Montgomery, Al, 1978

Amerika hauses: hannover, hamburg & Frankfurt Germany, 1979

Kulturhaus, Graz, Austria, 1978

Amerika haus Munich, Munich, Germany, 1977

GRoUP EXhIbItIoNS

Museum auf Abruf, Vienna, Austria, 2010

Watchung Arts Center, Watchung, NJ, 2010

brno house of Arts, brno, Czech Republic, 2009 – 2010

the Mishkin Gallery in baruch College, New York, NY, 2009

Museum of Fine Arts houston, houson, tX, 2006

the Royal College of Art, london, England, 2006

Silver Eye Center For Photography, Pittsburgh, PA, 2005

here Is New York, 2001 – Present

Main line Art Center, haverford, PA, 2000

the Raab Gallery, berlin, Germany, 1997

the Donnell library, New York City, NY, 1996

huntsville Museum of Art, huntsville, Al, 1995

Fine Arts Museum of the South, Mobile, Al, 1995

Maryland Fed. of Art (Juried: V. Goldberg), Annapolis, MD, 1992

RobERt A. SChAEFER, JR.

44 EASt 21st StREEt, 2R, NEW YoRK, NY 10010Email: rasjrpro@earthlink.netURl: http://www.schaeferphoto.com

bIRthPlACE Cullman, Alabama, 1951

© R

ober

t h

erm

an

32

toledo Friends of Photography (Juried: P. McGill), toledo, oh, 1991

the book trader Gallery, Philadelphia, PA, 1990

Janacek theatre, brno, Czechoslovakia, 1990

Cork Gallery, lincoln Center, New York City, NY, 1989

Photowork ’89 (Juried: C. Capa), Poughkeepsie, NY, 1989

Max Protech Gallery (art auction), New York City, NY 1988

Art in Embassies Program, Washington DC, 1987

PERMANENt CollECtIoNS

PUblIC

Museum of Modern Art, New York City, NY

bibliotheque Nationale, Paris, France

Museum of Fine Arts houston, houston, tX

the New York historical Society, New York City, NY

library of Congress, Washington D.C.

Amerika haus, Munich, Germany

Janacek theatre, brno, Czechoslovakia

huntsville Museum of Art, huntsville, Al

birmingham Museum of Art, birmingham, Al

Woodstock Center for Photography, Woodstock, NY

Congregation Emanu El, houston, tX

Union Rescue Mission Art Collection, los Angeles, CA

CoRPoRAtE

Philip Morris, Inc. Collection, New York City

Office: Dr. Edward Goldberg, New York City

lewis Neville Interior Design, New York City

PRIVAtE

Kofi Annan, Former Sec. Gen., United Nations, New York City, NY

W.M. hunt, Collection Dancing bear, New York City, NY

Peter hay halpert Fine Art, New York City, NY

Michael Mazzeo, Michael Mazzeo Gallery, New York City, NY

ben Fernandez, photographer

Estate of hermann Wiesler, berlin, Germany

Rainer Fetting, painter and sculptor, berlin, Germany

Alf lechner, sculptor, Rottenburg auf de tauber, Germany

Galerie bartsch & Chariau, Munich, Germany

Estate of Architect bruce Goff, oklahoma, USA

PUblICAtIoNS

blueprint to Cyanotypes, Alternative Photography.com, 2006

Fotofest 2006, Official Catalogue: 10th Int. Month of Photography

What Is A body of Work?, Positive Focus, brooklyn, NY, 2003

Photography’s Antiquarian Avant-garde, Abrams, New York, 2002

the Star ledger, Newark, NJ, 2002, 2003

Fine Art Photography, Design & Print, Apple, Inc., 2001

the Philadelphia Inquirer, Philadelphia, PA, 2000

Photo Insider, Florham Park, NJ, 2000

Catalogue: RASJR25, huntsville, Al, 1999

the Non-toxic Darkroom, Design & Publishing, Apple, Inc.,1998

brennpunkt, berlin, Germany 1998

Fotophile, New York, NY, 1997

Alabama Impact Catalogue, huntsville, Al, 1995

bilderleben, Art text, berlin, Germany, 1992

Staten Island Advance, Staten Island, New York, NY, 1989

Focus/World Press Photo, Netherlands, 1988

Foto - Universeel Maandblad voor Fotografie, Netherlands, 1988

INStRUCtoR

New York University, 2002 – Present

Center for Alternative Photography, 2009 – Present

long Island University, brooklyn, NY, 2009 – Present

the New School, 2003 – 2005

Pratt Institute (Workshops), 2003, 2005

Seminars for Apple, Inc. (Fine Art Photography), 1999 - 2001

EDUCAtIoN

Auburn University, Auburn, Al, 1970-1975

technische Universität, Munich, Germany, 1975-1978

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Architectural Blue: Cyanotypes of India and GermanyChandigarh and New DelhiNovember 2010

Presented by Goethe-Institut/Max Mueller Bhavan

Curator and EditorElizabeth Rogers

PhotographyAll cyanotype photographs courtesy of and ©Robert A. Schaefer, Jr.Portrait of Robert Schaefer courtesy of and ©Robert herman

Design & PrintingArchana Press, New Delhi (www.archanapress.com)

Curator’s AcknowledgmentsGoethe-Institut/Max Mueller bhavan, Dr. Stefan Dreyer, Robin Mallick, Deepa Kumar, and Malavika Venugopal; Mr. Maken of Goethe zentrum, Chandigarh; Professor Rajnish Wattas, Chandigarh; Mr. Navjot P.S. Randhawa and the Government Museum & Art Gallery, Chandigarh; Mr. D.S. Kapoor and the Government College of Art, Chandigarh; Mr. Pradeep K. bhagat and the Chandigarh College of Architecture; Raj and helene Rewal, and Manu Rewal; lalsawmliani tochhawng and India International Centre (IIC); Akshaya tankha and the Alkazi Foundation; Suneet Paul and A+D; Diwan Manna; Urvashi Mohan and Delfly Travels; Himman Dhamija, Raj Dhamija and Safina Uberoi; Archana Press and Ranjan bakshi; Vikas Sharma and Sharma Framing house; lucette Gilbert; Felicia Murray; and Robert A.Schaefer, Jr.

Photographer’s AcknowledgmentsGoethe-Institut/Max Mueller bhavan, Dr. Stefan Dreyer, Ms. Deepa Kumar, Ms. Malavika Venugopal, Mr. Robin Mallik, Mr. Surinder Maken, Professor Rajnish Wattas,Professor Sangeet K. Gupta, Mr. Diwan Manna, Ms. Urvashi Mohan, Ms. lucette Gilbert,Ms. Jeelu billimoria, Ms. Nandita Raman, Ms. Sharon Collins, Mr. Raj Rewal, Mr. K.R. KrishnanMr. Suneet Paul, Mr. Ram Dhamija, Ms. Safina Uberoi, Mr. Himman Dhamija,Mr. Robert herman, Ms. Felicia Murray, Mr. Peter Prestcott, Mr. George trahanis and Ms. Elizabeth Rogers

Copyright©2010, all rights reserved, Goethe-Institut/Max Mueller bhavantext©Robert A. Schaefer, Jr.text©Elizabeth Rogers

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The High Court – Street Facade, Chandigarh (2009)

Courtyard Facade I, New Delhi (2009)

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