Similarities and Differences

I grew up in Centerville, Ohio, a suburb of Dayton. The basic structure of this town differs drastically from the structure of Berlin. Centerville is much smaller and more compact than Berlin. This means that it only takes fifteen minutes to get from one side of town to the other. While here in Berlin, I have realized getting from one side of the city to the other takes much longer than fifteen minutes. Another major difference between the suburb in which I grew up in and Berlin is the use of public transportation. A few buses ran through Centerville on the way to Dayton, though I never needed to use them. The major mode of transportation is car with the exception of some people biking or walking. In Berlin there is a much greater emphasis on public transportation. The use of the U-Bahn, S-Bahn, and the bus system are highly efficient and makes getting around much faster.

Another major difference between my hometown and Berlin is the attitudes present in the locals. People in my hometown were typical “Midwesterners” meaning they were very friendly, instinctively helpful and unusually patient. When you go into stores the workers ask immediately if you need any help finding something, which is not the greeting I have received in stores in Berlin. Ohioans seem happy that you have come into their store or restaurant, whereas some workers here do not seem appreciative of your business. In addition, I have noticed that I feel rushed when I’m ordering food. Cashiers in America do not care if you are ready to order with exact change in your hand. I think many of these attitudes can be attributed to the fact that Berlin is a bustling city versus the slower pace of a suburb in the Midwest.

One difference that has affected me during my stay here is the hours of restaurants, museums, and stores. I remember arriving the first day on a Sunday and thinking that Berlin was very quiet and empty. This initial reaction was a result of seeing no open stores and not many open restaurants. Even on days that are not holidays or Sunday, many places of business in Berlin close early. I have also had to adjust to many museums being closed on Mondays. The shorter workday is also strikingly different than in my hometown, where you could go to many different 24-hour stores and fast food restaurants.

The diversity of cultures is one major similarity between Berlin and Ohio that I was pleasantly surprised by. I knew that Berlin had a lot of immigrants living in the city but I did not expect to see it so clearly on Berlin’s streets. Walking around the different neighborhoods can give you a glimpse of people from many different cultures. From the way people dress to the languages they speak, the variety of cultures is sensibly apparent. It even seems easier to get an Italian meal here than a typical German one. In my hometown we also have a large population of people from other cultures. My classes were diversified by students from Indian, Columbian, and Greek families, to name a few. This led to a diversity of ideas, foods and religions intermixing in our town; similar to the effects that immigration has had on Berlin.

During the month that I have spent here I have come to notice the various differences and similarities between Ohio and Berlin. I learned more about where I came from by seeing a place that often contrasted it starkly. I also learned about the ways that Berlin is becoming more global and I have thoroughly enjoyed getting to witness it for a month.

Thoughts on Yva

At the beginning of this course, I did not know anyone or what to expect of this blog project. Karli and I had happened to fly in on the same flight and ended up being roommates for the trip, so I was happy to work with her on the project. Looking at the list of people Carmen suggested, I did not know a single person on the list. However, I did know I wanted to research a female who made a difference in Berlin’s history. Karli suggested that we do Else Neuländer-Simon, since she recognized a photograph after searching her on the Internet. I have an affinity towards anything related to fashion, so Else was an easy pick for us.

Her images are easily recognizable as a whole, but we did not know any information behind the photographer who goes by her artist name, Yva. During our initial research, we were surprised at the fact that she was Jewish. Looking into the historical context in which she lived made us realize that the situation was not set up in her favor. Being Jewish made it very difficult for anyone of that background to stay successful under the power of the Nazi regime. Yva was able to get by under her artist name for a bit, but she eventually had to give up ownership of her studio to her “Aryan” friend. Yva was still able to thrive to a point during this time though, which speaks to her determination.

When researching her accomplishments, we were amazed that a woman photographer could be so successful at that time. Given what we had learned in the historical context portion of our research, the early 20th century was not exactly easy for a woman to strike out on her own, let alone in experimental photography. Women were given the right to vote when Yva was a young adult, and women were still seen as property of the males in their lives. She went against the norm of marriage and settling down right away when she opened her studio with her brother’s help. And although she is most remembered for her commercial pieces, she began her career experimenting with lighting and how to portray women in a patriarchal world.

Yva is prime example of a person who continues doing their passion regardless of the circumstances, which is one reason that I appreciated learning about her. Even though we only had to provide a few examples of her work, I thoroughly enjoy looking through her photographs. Many of the photos have a sense of timelessness to them and could be framed and put in any person’s home today. The gracefulness and femininity exemplified in her striking black-and-white photos add to the timeless class associated with her work. Matt Witkovsky perfectly summarizes it in an article for Dazed, “Chic but with an edge to it, that’s how I think of Yva”.

Else could have easily closed her studio and left Germany when Hitler came to power or when the Nuremburg Laws were enacted. She and her husband may still be alive today if they had, but Yva was determined to continue her work in Berlin. One can only imagine the impact Yva would have had in the arts had her life not been cut short. Had she been placed in a different point in time, she may not have made such a large impact in photography or Berlin because her techniques and style of photographing women were so novel during the 1920 and 30s. Regardless, Yva and her work have made a beautiful impact on Berlin’s history and culture.

 

Similarities and Differences

I grew up in Centerville, Ohio, a suburb of Dayton. The basic structure of this town differs drastically from the structure of Berlin. Centerville is much smaller and more compact than Berlin. This means that it only takes fifteen minutes to get from one side of town to the other. While here in Berlin, I have realized getting from one side of the city to the other takes much longer than fifteen minutes. Another major difference between the suburb in which I grew up in and Berlin is the use of public transportation. A few buses ran through Centerville on the way to Dayton, though I never needed to use them. The major mode of transportation is car with the exception of some people biking or walking. In Berlin there is a much greater emphasis on public transportation. The use of the U-Bahn, S-Bahn, and the bus system are highly efficient and makes getting around much faster.

Another major difference between my hometown and Berlin is the attitudes present in the locals. People in my hometown were typical “Midwesterners” meaning they were very friendly, instinctively helpful and unusually patient. When you go into stores the workers ask immediately if you need any help finding something, which is not the greeting I have received in stores in Berlin. Ohioans seem happy that you have come into their store or restaurant, whereas some workers here do not seem appreciative of your business. In addition, I have noticed that I feel rushed when I’m ordering food. Cashiers in America do not care if you are ready to order with exact change in your hand. I think many of these attitudes can be attributed to the fact that Berlin is a bustling city versus the slower pace of a suburb in the Midwest.

One difference that has affected me during my stay here is the hours of restaurants, museums, and stores. I remember arriving the first day on a Sunday and thinking that Berlin was very quiet and empty. This initial reaction was a result of seeing no open stores and not many open restaurants. Even on days that are not holidays or Sunday, many places of business in Berlin close early. I have also had to adjust to many museums being closed on Mondays completely. The shorter workday is also strikingly different than in my hometown, where you could go to many different 24-hour stores and fast food restaurants.

The diversity of cultures is one major similarity between Berlin and Ohio that I was pleasantly surprised by. I knew that Berlin had a lot of immigrants living in the city but I did not expect to see it so clearly on Berlin’s streets. Walking around the different neighborhoods can give you a glimpse of people from many different cultures. From the way people dress to the languages they speak, the variety of cultures is sensibly apparent. It even seems easier to get an Italian meal here than a typical German one. In my hometown we also have a large population of people from other cultures. My classes were diversified by students from Indian, Columbian, and Greek families, to name a few. This led to a diversity of ideas, foods and religions intermixing in our town; similar to the effects that immigration has had on Berlin.

During the month that I have spent here I have come to notice the various differences and similarities between Ohio and Berlin. I learned more about where I came from by seeing a place that often contrasted it starkly. I also learned about the ways that Berlin is becoming more global and I have thoroughly enjoyed getting to witness it for a month.

Yva’s Achievements and Influence

Yva is known today as an influential fashion and avant-garde photographer. One of the most impressive things about Yva is her rapid rise to success. She graduated from the Lette School and had a short internship in a movie theatre in her early twenties. In 1925, she began working with Heinz Hajek-Halke. Their relationship ended when Heinz sued her over the rights to her self-portrait. He lost the case and she left his studio. Though things did not end well between her and Heinz, she was able to take away knowledge about experimenting with lights while photographing. This knowledge is demonstrated in photographs she completed on her own. In 1926, she established her own studio, Studio Yva, and by 1927 she had her first solo exhibition in Galerie Neumann-Nierendorf. Her brother, Ernst Neuländer, was a co-owner of Kuhen, a famous fashion salon in Berlin. Yva was able to establish herself in the Berlin fashion world with his help and connections.

“Women’s Legs”

By 1927, she had her big breakthrough. Ten of her photographs were published in Die Dame, a popular women’s fashion magazine. She then became a regular contributor to this magazine. Beginning in 1929, her photographic stories were shown in the magazine, Der Uhu. This was a popular general interest magazine that was known for its professionalism and originality. Her work in these magazines ranged from fashion photography to advertisements. Five of Yva’s photos were displayed in the Film und Foto exhibition in 1929. This exhibition in Stuttgart featured prominent modern filmmakers and photographers from around the world. The exhibition was also displayed in Berlin. She was also featured in the 1930 Munich exhibition, Das Lichtbild. Not only did she influence photography in Germany, but she also influenced those around the world. Her work appeared in exhibitions such as London’s The Modern Spirit in Photography and Paris’ La beauté de la femme.

Film und Foto Exhibition

Her success grew as her work appeared in more magazines. Through the late 1920s and 1930s Yva’s work was published in Blatt der Hausfrau, Elegante Welt, Konfektionär, and Neue Linie. These were the important fashion magazines of the time. Her works often juxtaposed the more practical nature of fashion, and its seductive appeal. During the time of the Weimar Republic, advertising focused on a fetishized image of women. However, Yva’s works shifted away from this notion. Yva also achieved recognition in photography magazines such as Gebrauchsgraphik, Gebrauchsphotographie, Photographik, Das deutsche Lichtbild Jahrbuch, and Der deutsche Kamera-Almanach. Yva was even reviewed by Hans Böhm in Der Photofreund. She published 150 photographs in the Berliner Illustrierte Zeitung. Yva was well known by the readers of the intellectual magazine Der Querschnitt. Due to her heavy presence in various magazines, Yva was a recognized by Berliners. She heavily contributed to the rise of modernism. Her influence in magazines made modernism much more apparent to the public.

Berliner Illustrierte Zeitung

Unfortunately, the rise of the Nazi regime prevented her career from continuing. Using her artist name could only protect her for so long. The Nazis discovered that the woman behind Yva, Else Neuländer-Simon, was Jewish. Yva and her husband crated up much of her works and what they owned. After they were deported, many of the works and items were destroyed or lost. Despite this, she still had a major achievement that allowed her legacy to continue. It was her intern, Helmut Newton, who became a valuable assistant to her from 1936-1938. He was also born into a Jewish family in Berlin. Unlike Yva, Helmut was able to leave Germany before being sent to a concentration camp. Helmut went on to become a famous fashion photographer for Vogue, Harper’s Bazaar and Playboy. Helmut has paid tribute to Yva’s influence on him through various interviews and articles. However, his photographs are highly sexual, whereas hers are not. Her photographs manage to be successful at attracting attention without overtly degrading her subjects. She accomplishes a striking balance between experimenting and advertising.

“Study of hands”

Yva’s first studio was located in Klingelhöferstraße 17 just south of the Tiergarten. In 2011, a small portion of the sidewalk near the Tiergarten was named “Yva-Bogen” after her. She moved into a larger studio in 1930. It was located on Bleibtreustraße a block away from the Savingyplatz S-bahn station today. Her last studio and home is located in Schlüterstraße 45 in Charlottenburg, Berlin. She lived and worked on the fourth and fifth floors. Many of her photographs were taken on the staircase between the floors. This last studio and home was converted into the Hotel Bogota. A small exhibition of her work was there on the fourth floor of the hotel, which has recently closed. A plaque outside of the building commemorates her life and death. Some of Yva’s photographs are still in the Museum of Modern Art in the Berlin Gallery. The Jewish Historical Museum also houses several of her photographs today. Although her career was short, Yva’s influence on photography can still be felt today.

Plaque from Jewish Historical Museum

http://www.academia.edu/4342769/Fashion_Photography_and_Womens_Modernity_in_Weimar_Germany_The_Case_of_Yva

Historical, Political, and Societal Context

 

Flappers in Berlin, 1920s

Flappers in Berlin, 1920s

Having been born in 1900, Else Neuländer-Simon’s young adulthood occurred during the Weimar Republic era of Germany. Due to the passing of Treaty of Versailles in 1919, the beginning of the 1920s was burdened with hyperinflation in Germany. Overall, the 1920s was a time of growth for Berlin and especially for women. The right to vote was granted to women in 1919 and more women in metropolitan areas such as Berlin were beginning to embrace a certain degree of independence. Young women began looking less like the feminine ideals of the 19th century. The Modern Girl had short hair cut into a bob and a short dress to match. Daily life activities also changed for women during this time. Young women were seen playing sports, smoking cigarettes, driving cars, attending dance halls, and no longer needing males to escort them places. Along with the liberating air surrounding women, innovation was also prevalent in society. Intellectuals, artists, and scholars in many fields marked Weimar Culture. Nine German citizens were awarded Nobel Prizes during the Weimar Republic, five of whom were Jewish scientist. Such an era was ideal to cultivate Else’s interest in the arts and photography.

Entertainment near Brandenburg Gate, 1920s

Entertainment near Brandenburg Gate, 1920s

At this time, literature and paintings were seen as having a higher rank in cultural hierarchy compared to photography and film. Both photography and film experienced enormous growth during this era. The advent of modern advertising was a powerful venue for photography, and the advertisements allowed for the mass acceptance of the art. Photography for advertisements was the main source of innovation and experimentation for this art form. Yva was able to use advertising to help her name and style of photography become well known among the fashion and female audiences. Her distinctive use of avant-garde techniques in advertisements and fashion photography became part of how audiences were able to experience modernism. Until Hitler’s rise to power in 1933 and subsequent growth of said power, Yva was able to experiment and flourish in the realm of photography without any social or political issues holding her back. Many intellectuals and artists fled Germany when Hitler ascended to power, anticipating the struggles ahead for those that stayed.

Yva: Charleston (1926-1927)

Yva: Charleston (1926-1927)

Immediately after Hitler came to power, he focused his attention on strategically and methodically removing Jews from German society. The Law for the Restoration of the Professional Civil Service was passed on April 7th, 1933. This law prevented Jews and those politically against the Nazi regime from serving as teachers, professors, judges, other government positions, lawyers, doctors, tax consultants, musicians, and notaries. Hitler also sought out to control what the German public saw in newspapers. Control of this was given to Joseph Goebbels as the head of the Ministry of Popular Enlightenment and Propaganda. In August of 1933, Else‘s artist name (Yva) was included on the blacklist of “Jewish and foreign photographers for the press” that was published in Deutsche Nachrichten. Her work remained steady though since there was little connection to her artist name of Yva and Judaism.

Joseph Goebbels

Joseph Goebbels

On October 4th, 1933, the Reich Press Law was issued. This law stated that all journalism had to be racially clean. Many Jewish and liberal editors lost their jobs soon after and those who worked for the newspapers had to take a Nazi citizenship test and prove that they were not Jewish. Jewish publishing houses, Ullstein for instance, went bankrupt and had to sell out to Eher Verlang, the Nazi publishing house in Munich. Ullstein no longer existed past 1936 and was the publisher of many of the magazines that commissioned Yva. Once the publishing house sold, all Jewish photographers names were erased from the archives, making the photos government property. Yva and other photographers could no longer collect royalties on these photos as well. By the end of 1930s, many of Else’s photo models discontinued their contacts with Studio Yva and her work became unacceptable for publication in the illustrated press. With the passing of the Nuremberg Laws in 1935, it became impossible for Else to keep her work separate from the fact that she was Jewish. Even though the studio was “aryanized” in 1936, it became difficult for Yva to continue her work due to these laws and how Jews were treated at the time. Many recognized her for her incredible work, but that was not enough to keep Studio Yva open. The last photo attributed to the studio was in August 1936 in Die Dame and the studio closed in 1938. Like many other Jews and intellectuals that remained in Berlin, Yva and her husband were sent to a concentration camp. No records remain of what happened to them.

Majdanek Extermination Camp

Majdanek Extermination Camp

 

http://www.visitberlin.de/en/feature/women-of-the-1920s

http://weimarart.blogspot.de/2010/07/yva-else-neulander-simon.html

Biography

"Self Portrait of the Photographer"

“Self Portrait of the Photographer”

Else Neuländer-Simon, also known as Yva, was born in Berlin in 1900. She was the youngest of nine in a middle-class, Jewish family. Else’s father died when she was only twelve years old and her mother supported the family as a milliner. Yva graduated from Berlin’s famous arts and crafts school for women, Lette School, according to a fellow photographer of the time. Else also had a short internship at a Berlin movie studio, where she learned lighting. She started her photography business when she was twenty-five years old with only basic photography skills.

Studio Yva was opened in 1925 in her brother’s old Kreuzberg apartment, Bleibtreu Strasse 17 (on the corner of Mommsen Strasse). Her specialty was fashion and avant-garde photography. After an experimental period with another photographer in the mid 1920s, Yva decidedly focused on more commercial photography there after. A motif found in her work is femininity and how that is defined. This is explored in her classic, glamorous photographs that contain varying perspectives. From the 1930s onward, high-end magazines featured her work. Studio Yva grew exponentially during this time. She had ten assistants and various apprentices, notably Helmut Newton, studying under her. Observing how quickly she went from only knowing basic skills to having her first solo exhibition, it is clear she was someone of great charisma with great business sense.

Since Else was known as Yva by the majority, her work was not majorly affected by the Nazi regime until her name was listed on a publication of Jewish photographers and journalists. Due to the fact that she was a Jew, she was forced to relinquish ownership of her studio to her Aryan friend, Charlotte Weidler, in 1933. Eventually, Yva was forced to close her studio in 1938. Her and her husband Alfred were no longer able to practice their professions at this time. Alfred became a road sweeper and she became an X-ray technician in the Jewish Hospital in Berlin. In 1942 they were both deported to Majdanek concentration camp in Poland. It is assumed they died there a few months later since no record exists of their death or liberation.

 

Yva (on left)

Yva (on left)

http://www.dazeddigital.com/artsandculture/article/20704/1/yva-shattered-vision