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Christian Vogt has been working with photography for nearly fifty years. His ongoing dialogue with the medium has repeatedly given rise to a new image language, often putting him ahead of his time. Vogt's work can be regarded as an exploration of vision: for him, an image is always a projection screen, as each observer reacts differently to what is shown. 'Christian Vogt: The Longer I Look' is the first monograph covering the entirety of his oeuvre. Some 350 images offer a comprehensive overview of Vogt's conceptual work, his philosophical inquiries, and his capacity to visualise the 'things behind things'. The book also features a brief introductory essay by Vogt himself and a conversation between the artist and curator Martin Gasser.
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In the 45 years during which Christian Vogt has been a photographer he was able to develop a new pictorial language. In his work it was always present, it's just grown stronger. It consists almost exclusively of juxtaposition of image pairs. His method is to question the relationship between visible reality and its photographic image, between image and text, between seeing and knowing. He deals with the "necessary nonsense", with himself unifying opposites and the actual and perceived paradoxes. A pinhole camera is used as well as digital photography, but Vogt deliberately avoids subsequent processing of the images.
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In a broader sense this book presents a challenge to the viewer to establish a personal convergence of ideas and references - both visual and literal - through the subtle brilliance of Vogt's photographic record.
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By mining the rich tradition of virtue ethics, Christopher Vogt uses the virtues of patience, compassion, and hope as a framework for specifying the shape of a good death, and for naming the practices Christians should develop to live well and die well. Bringing together historical, biblical, and contemporary sources in Christian ethics, Vogt provides a long-overdue theological analysis of the ars moriendi or "art of dying" literature of four centuries ago. Through a careful analysis of Luke's passion narrative, Vogt uses Jesus as the primary model for being patient in the face of death and for dying well.