Abstract
The study examines the self-conception of fashion photographers between commercial popular culture and high art in the 20th and beginning 21st centuries. The subject-matter of self-portraits is of high relevance in this context because the integration of self-exposures in fashion photographs today results from the acceptance of fashion photography as an autonomous art form.The survey begins with the analysis of the actual, mutual function-transfer of the two genres of self-portrait and fashion photography which were strictly separated in former times. It discusses the expanded public space and the dichotomy of commercial commissioned work and the autonomy of art. Hence the dissertation makes a contribution to the actual debate on the definition of art. Futhermore it reveals the shifting of the self-conception from applied photographer towards artist by means of the self-portraits by fashion-photographers which deal particularly with the photographic media. The analysis of the photographic reference is based on the semiotic object relation by C. S. Peirce. Self-exposures by Erwin Blumenfeld, Helmut Newton and the recent generation with Wolfgang Tillmans were analysed exemplarily. The dissertation delineates a history of development of the self-portrait over the last one hundred years from a critical self-reflection to a commercialisation.
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