< Vera Nowottny





June 2014 Disputation to achieve the academic degree PhD, art and design, Bauhaus University, Weimar

2009 – 2013 Doctoral studies, Bauhaus University, Faculty of Design – Art and Design_PhD, Weimar

1998 diploma thesis, Würzburg University of Applied Sciences

1996 – 1997 study visit, Arcos – Academy for Photography, Santiago de Chile

1993 – 1998 studied communication design/photography, Würzburg University of Applied Sciences


since 1998 freelance photographer

1999 – 2012 Photographer representative office, Rockenfeller and Göbels, Düsseldorf

2004 Stay abroad USA, Internship – Photographer – Ken Botto, San Francisco

1988 – 1991 training as a photographer, Würzburg


since 2021 art teacher and head of department, FOS design, Pennigparade, Munich

since 2020 teaching assignments, institute for art education, art teaching course, LM University Munich

since 2020 teaching assignments, Institute for Art Education, course Art and Mulimedia, LM University Munich

2019 WiSe, guest lectures, photographic documentation, art and multimedia, LM University Munich

since 2015 regular workshops in my own studio, Munich

2014 – 2016 lecturer in photography, bachelor’s degree in graphics/design, 5th semester, Diploma University of Applied Sciences, Munich

2008-2021 lecturer and head of the photography department, DPOP – Academy, Munich

2009 – 2011 teaching position at the School of Fantasy, Munich

1995 -1997 tutor, photography department, Würzburg University of Applied Sciences



2021 Appointed member of the German Society for Photography DGPH

2020 Artists’ Residence, Ryad, Morocco

2017 art grant, 1st prize, photography in public space, Spiekeroog

2017 project funding, culture department, Würzburg

2016 Artist Residency, Panama, funded by La Wayaka, London

2015 Advancement Award, Stiftung Kulturwerk der VG Bild-Kunst, Bonn

2014 project funding as part of “global art”; Cultural Department, Munich

2013 Doctoral completion grant from the Bauhaus University, Weimar

2012 project funding as part of “global art”, Goethe Institute; Accra/Ghana and GiZ


2021 Photoaward, 1. Preis in Abstract, FMoPA, Museum of Photographic Arts, Tampa, Florida

2020 Winner, Artist of the year, Itsliquid Group, Italien

2019 Honorable Mention in Abstract, 12th Annual International Color Awards, Beverly Hills; CA

2018 Silber „Gusarmalo“, Deutscher Fotobuchpreis 18 I 19, Hochschule der Medien, Stuttgart

2018 Nominierung in Porträt, 11th international Color Festival, Beverly Hills, CA

2017 Honorable Mention in Abstract, 10th international Color Festival, Beverly Hills, CA

2016 Photoaward, 1. Preis, Hoepfner Stiftung, Karlsruhe

2015 Nominierung, internat. Festival für Reportagefotografie, Schömberg

2015 Nominierung in Fine Art, 8th International Color Award, Beverly Hills, CA

2014 Sonderpreis, B/W Classic Award, Tetenal;, European

2013 Nominierung, Kategorie Portrait „Felix Schöller“ Photoaward, Osnabrück

2012 Photoaward „Schnittmenge M“, 2. Preis, Stuttgart

2012 Photoaward, 2. Preis „Fotografieren ohne High Tech“, Münster

2001 Nominierung internationales Fotofestival Knokke-Heist, Belgien

1999 Photoaward „Reinhard Wolf – Preis“, Auszeichnung, Hamburg

1998 Photoaward, 2. Preis „Zweisamkeit“, Nourypharma, Nürnberg


Basically, I pursue two photographic perspectives in my artistic work. One concerns seeing and the situational reaction to external processes, for which I use digital photography.
On the other hand, I work analogously, with the camera obscura and sheet films as recording media. This allows me a technical flexibility in generating images that cannot be implemented through digital photography. In contrast to the former, these images are initially created in the mind and are not based on seeing. The origin of the images lies in an introspection, which I then experimentally transfer to the medium of photography.
Especially in the comparison of external and internal perspectives, a multi-perspective
field of tension arises, which enables more complex contexts to be presented visually. Objective information as well as subjective experiences, comments, emotions and sensory impressions interact and thus allow us to speak of socially critical and culturally relevant topics.
Another coherent focus on materiality in my work is based on the thesis of an increasing human loss of a haptic handling of materials in the course of digitization. This examination manifests itself in terms of content as well as haptics and purely aesthetic, whereby the focus is on the consistency, tactility and color of the materials. Contrary to current tendencies, based on experiments, I give these properties an immanent role in the picture.