About

Photographer, art historian, journalist. Main topics: Design, image analysis, art and visual perception. Theory and history of photography.

Statement

In the sense of the concept of an objective and strict advertising photography, which was oriented towards the Hochschule für Gestaltung in Ulm and the Bauhaus, I worked on commissions from 1958 to 1968. Through regular visits to Paris until today, the view of this city has always appealed to me. Over the years, photography has become more and more important as a visual medium. I have never thought of documentation, but have always taken individual images with a focusing level as a starting point in order to emphasize an accent. In the further course of my second study of art history, philosophy and journalism, the examination of the image and its characteristics have become increasingly important to me. I would like to emphasize that image and language are very different media for me and I have concentrated my accent either on photography or writing. Since 1978 I have been intensively engaged with visual perception, which at the time with the investigations on the brain gave very interesting impulses to newly think about reality and image, about image and image. The result is a book published by Springerverlag (Heidelberg 2003), which was published in its 2nd edition in 2011. The reflection on these topics also influenced my practical work. Irritations of the Staging Photography, motion depiction on the static image and abstractions are the experimental fields on which I test the means of the image. In teaching, I was able to reflect very well on the theory and history of photography and film, whereby I was able to work with the students on image examples to gain further insights.

Education

  • 1988 | Dr. phil., Ruhruniversität Bochum (DE)
  • 1975 - 1979 | Kunstgeschichte, Publizistik, Philosophie, Ruhruniversität Bochum (DE)
  • 1974 - 1975 | Publizistik, Kunstgeschichte, Anglistik, Freie Universität Berlin (DE)
  • 1954 - 1955 | Photographie (Dipl.Ing), Staatliche Höhere Fachschule für Photographie Köln (DE)
  • 1949 - 1952 | Photographenlehre (Gesellenprüfung), Bochum (DE)

Institution (Work Experience)

  • 2002 - heute | Ehrenmitglied der DGPh
  • 1997 - 2002 | Geschäftsführendes Vorstandsmitglied, Deutsche Gesellschaft für Photographie
  • 1990 - 2000 | Vorsitzende der Sektion Photopädagogik, Deutsche Gesellschaft für Photographie
  • 1990 - 1998 | Lehrauftrag, Institut für Theaterwissenschaften, Film und Fernsehen, Ruhruniversität Bochum (DE)
  • 1985 - 1998 | Lehrauftrag an der FH Dortmund (DE)
  • Seit 1984 Zahlreiche Publikationen zur Geschichte und Theorie der Fotografie, Semiotik, Malerei und Architektur in Büchern, Fach- und wissenschaftlichen Zeitschriften.
  • 1982 - 1986 | Lehrauftrag an der FH Düsseldorf (DE)
  • Seit 1958 Freiberufliche Photographin
  • 1955 - 1958 | Werbephotographin, Fa. Max Braun, Frankfurt/Main (DE)

Selected Awards

  • 2003 | Stuttgarter Fotobuchpreis des Börsenvereins des Deutschen Buchhandels (DE)

Selected Exhibitions/Publications

  • Publikationen / Publications:
  • 2010 | Sehen und Photographie. Ästhetik und Bild. 2.Erweiterte Auflage Springer Verlag Berlin Heidelberg New York (DE)
  • 2003 | Sehen und Photographieren. Von der Ästhetik zum Bild. Springer Verlag Berlin Heidelberg New York (DE)
  • 1990 | Photographie und Wahrnehmung am Beispiel der Bewegungsdarstellung im 19. Jahrhundert. Jonas Verlag Marburg (DE)

Personal Website

http://www.schnelle-schneyder.de

Galleries

Marlene Schnelle-Schneyder | Braun (1955 - 1958)

Marlene Schnelle-Schneyder | Braun (1955 - 1958)

A new objective concept for advertising was also expected in photography. The consumer should be informed and not manipulated. He should make his purchase decision based on serious information about the product. From 1955 this was the idea of the Braun company in Frankfurt for an advertising concept. For photography, the objective information meant object-related photographs, i.e. the characteristics of the object were primarily to be objectively transformed into an image without distracting effects.

Format:

gallery

Marlene Schnelle-Schneyder | Paris In Sight (1954 - 1959)

Marlene Schnelle-Schneyder | Paris In Sight (1954 - 1959)

For decades, the view of Paris was a stimulating theme for me, which I worked on in colour from 1968 onwards. Photography as a pictorial medium has become more decisive, documentation has played no role.

Format:

gallery

Marlene Schnelle-Schneyder | The Sealed Well (1992)

Marlene Schnelle-Schneyder | The Sealed Well (1992)

The series "The Sealed Well" with captions from the "Song of Songs" is an examination of visual perception and recognition features of reality, or the interaction of image and language, in staged photography.

Format:

gallery

Marlene Schnelle-Schneyder | Movement And Standstill (1971 - 2019)

Marlene Schnelle-Schneyder | Movement And Standstill (1971 - 2019)

This series deals with the movement on the static surface. The focus is on the blurring properties of photography.

Format:

gallery