Bettina Von Zwehl Josh Cohen

Bettina von Zwehl, born in Germany in 1971, is a contemporary artist based in London, known for her photographic work that delves into representations of the human condition. Her artistic practice, which also incorporates installation and archival exploration, has been significantly shaped by museum residencies. Von Zwehl employs an observational approach, frequently utilizing the profile view and silhouette in her compositions, a technique she considers a powerful means of portraiture, influenced by Renaissance painting.

Her academic background includes a BA in Photography from the London College of Printing and an MA in Fine Art Photography from the Royal College of Art. Von Zwehl's early work, often created in the studio using a large-plate camera and 19th-century methods, was noted for its conceptual depth and depictions of subjects in vulnerable states. Her career has seen her commissioned for significant projects, including portraits for the 2012 London Olympics and residencies at institutions like the Victoria & Albert Museum and the Freud Museum. These residencies have led to the creation of permanent installations and specific bodies of work, such as "Made Up Love Song" and a permanent installation for the Anna Freud Room at the Freud Museum. Her work has also responded to collections at the New-York Historical Society and the Renaissance Kunst- und Wunderkammer at Castle Ambras in Austria.

Bettina von Zwehl's artistic practice is deeply rooted in photography, often extending into installation and archival research, frequently developed through artist residencies in various museum settings. Her work consistently examines the human condition and associated concerns through a deliberate observational lens. A defining characteristic of her style is the distinctive use of the profile view and silhouette, which she views as exceptionally potent methods for representing individuals, drawing parallels to the influence of Renaissance portraiture. Her approach often involves capturing subjects in states of heightened vulnerability, whether physical or emotional, framed within conceptually rich compositions. She has also engaged with historical photographic techniques, including the use of large-plate cameras and traditional film, reminiscent of 19th-century methodologies.

Von Zwehl has undertaken numerous significant artist residencies, which have become a crucial part of her practice, leading to unique bodies of work and installations. Notable among these are her residencies at the Victoria & Albert Museum (V&A) and the Freud Museum. At the V&A, her residency resulted in "Made Up Love Song" (2011), a durational portrait in miniature inspired by the museum's collection of portrait miniatures. Her time at the Freud Museum (2013–2014) led to the creation of a permanent installation for the Anna Freud Room, reflecting on Anna Freud's legacy. She also collaborated with fellow artist Sophy Rickett on a project responding to the Sir Benjamin Stone Archive at the Library of Birmingham. More recently, she was the first artist-in-residence at the New-York Historical Society, creating work inspired by their silhouette collections and contemporary events, and researched the Renaissance Kunst- und Wunderkammer at Castle Ambras in Austria.

Throughout her career, Bettina von Zwehl has exhibited widely in solo and group shows internationally. Her solo exhibitions have been held at prominent venues including the Victoria & Albert Museum of Childhood, the National Portrait Gallery (for her "Road to 2012" commission), the Freud Museum (resulting in "Invitation to Frequent the Shadows"), and the New-York Historical Society Museum. Her work has also been featured in significant group exhibitions such as "Facing History: Contemporary Portraiture" at the V&A and "Seduced by Art: Photography Past and Present" at the National Gallery. Von Zwehl is also an author and co-author of several publications, including monographs like "Bettina von Zwehl" (2007), "Made Up Love Song" (2014), and "Wunderkammer" (2020). Her collaboration with Josh Cohen on "Lament" (2016) highlights a notable intersection of her artistic practice with psychoanalytic thought.