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Fuss, Adam

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Baldeón, Javier --- Fuss, Adam

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Das Museum im Kulturspeicher Würzburg, mit der Sammlung Peter C.Ruppert eines der Zentren für Konkrete Kunst in Deutschland, hat bereits 2005 den Begriff der 'Konkreten Fotografie' in den Blickpunkt der Forschung gerückt. Zehn Jahre später wagt die Ausstellung Licht- bild und Datenbild – Spuren Konkreter Fotografie ein Update und fragt anhand von Werken vor allem der letzten zehn Jahre erneut nach einer Definition Konkreter Fotografie vor dem Hintergrund des digitalen Wandels. Der Katalog zur Ausstellung zeigt mit einem Ausschnitt aus der Sammlung Peter C.Ruppert einige Klassiker der Konkreten Fotografie; von hier aus verfolgt er die Spuren einer ungegenständlichen, selbstreflexiven Fotografie in der heutigen Kunst. Dabei reagieren einige Fotokünstler auf die Digitalisierung ihres Mediums mit einer Rückwendung zum Apparat und zum Experiment mit Fotopapier und lichtempfindlichem Material, andere nutzen die neuen technischen Möglichkeiten für eine vollständig von der Außenwelt unabhängige Bilderzeugung mittels des Computers. Auf beiden Gebieten sind dem Experiment keine Grenzen gesetzt – die Lust an der Bilderzeugung ohne Abbild als ein Wesensmerkmal des 'Konkreten' bleibt bestehen und äußert sich in aufregend vielschichtiger Weise.

Künstler: Théodore Bally, Kilian Breier, Nina Brauhauser, Marco Breuer, Richard Caldicott, Michel Campeau, Pierre Cordier, Akos Czigány, Inge Dick, Christian Doeller, Philipp Dorl, Christiane Feser, Johannes Franzen, Adam Fuss, Hein Gravenhorst, Franco Grignani, Heinz Hajek-Halke, Raphael Hefti, Heinrich Heidersberger, Stefan Heyne, Karl Martin Holzhäuser, Horáková + Maurer, Roger Humbert, Gottfried Jäger, Peter Keetman, Anton Kehrer, Ola Kolehmainen, Pit Kroke, Jacinthe Lessard-L, René Mächler, Andreas Müller-Pohle, Jaromír Novotný, Jerzy Olek, Michael Reisch, Christiane Richter, Thomas Ruff, Jörg Sasse, Otto Steinert, Claus Stolz, Wolfgang Tillmans, James Welling, Luigi Veronesi

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The Museum im Kulturspeicher Würzburg is one of the foremost centres for concrete art in Germany due to its "Collection Peter C. Ruppert". Already in 2005, it has helped to shift academic attention to the term of "concrete photography". Ten years later, the exhibition "Light Image and Data Image - Traces of Concrete Photography" ventures to update the earlier findings, endeavouring once again to come up with a definition of concrete photography in the light of the digital revolution by displaying works mainly created within the last decade.

Beginning with the "classics" of concrete photography of the Collection Peter C. Ruppert, the exhibition follows the "traces" of non-representational, self-referential photography in contemporary art. Some artists react to the digitalisation of their medium with a return to the "apparatus" and by experimenting with photosensitive materials. Others make use of the new technical possibilities by generating images within their computers, completely independent from the outside world. Both reactions present inifinite opportunities for experiments - the major feature of the "concrete", a passion to create images without representing objects, persists and is expressed in various many-faceted, exciting ways. The Museum im Kulturspeicher Würzburg with its Peter C. Ruppert Collection is one of the centers for Concrete Art in Germany. Back in 2005, the museum proposed the concept of "Concrete Photography" as a productive new field of research. Ten years later, the exhibition Lichtbild und Datenbild – Spuren Konkreter Fotografie ventures to update this investigation, inquiring primarily on the basis of works from the last ten years into how Concrete Photography can be redefined in our digital age. The exhibition catalog shows a few classics of Concrete Photography from the Ruppert Collection and then proceeds to track the traces of nonrepresentational, self-reflexive photography in contemporary art. Some photo artists are responding to the digitization of their medium with a return to the apparatus and to experimentation with photo paper and photosensitive material, while others make use of the new technical possibilities to generate images on the computer that are fully autonomous from the outside world. In both approaches, the experimentation seemingly knows no bounds. The relish in generating images that are more than an imitation of nature thus remains the essential characteristic of the "Concrete" attitude, expressed in myriad exciting ways. 

Artists: Théodore Bally, Kilian Breier, Nina Brauhauser, Marco Breuer, Richard Caldicott, Michel Campeau, Pierre Cordier, Akos Czigány, Inge Dick, Christian Doeller, Philipp Dorl, Christiane Feser, Johannes Franzen, Adam Fuss, Hein Gravenhorst, Franco Grignani, Heinz Hajek-Halke, Raphael Hefti, Heinrich Heidersberger, Stefan Heyne, Karl Martin Holzhäuser, Horáková + Maurer, Roger Humbert, Gottfried Jäger, Peter Keetman, Anton Kehrer, Ola Kolehmainen, Pit Kroke, Jacinthe Lessard-L, René Mächler, Andreas Müller-Pohle, Jaromír Novotný, Jerzy Olek, Michael Reisch, Christiane Richter, Thomas Ruff, Jörg Sasse, Otto Steinert, Claus Stolz, Wolfgang Tillmans, James Welling, Luigi Veronesi

fotografie --- kunst --- Concrete kunst --- abstractie --- abstracte fotografie --- twintigste eeuw --- eenentwintigste eeuw --- Bally Théodore --- Brauhauser Nina --- Breier Kilian --- Breuer Marco --- Caldicott Richard --- Campeau Michel --- Cordier Pierre --- Czigany Akos --- Dick Inge --- Doeller Christian --- Dorl Philipp --- Feser Christiane --- Franzen Johannes --- Fuss Adam --- Gravenhorst Hein --- Grignani Franco --- Hajek-Halke Heinz --- Hefti Raphael --- Heidersberger Heinrich --- Heyne Stefan --- Holzhäuser Karl Martin --- Horakova + Maurer --- Humbert Roger --- Jäger Gottfried --- Keetman Peter --- Kehrer Anton --- Kolehmainen Ola --- Kroke Pit --- Lessard-L Jacinthe --- Mächler René --- Müller-Pohle Andreas --- Novotny Jaromir --- Olek Jerzy --- Reisch Michael --- Richter Christiane --- Ruff Thomas --- Sasse Jörg --- Steinert Otto --- Stolz Claus --- Tillmans Wolfgang --- Veronesi Luigi --- Welling James --- 77.038/039 --- Exhibitions --- Photography --- artistieke fotografie --- Concrete art

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photography [process] --- Photography --- Man Ray --- Goldblatt, David --- Killip, Chris --- Fenton, Roger --- Silvy, Camille --- Lyon, Danny --- Fulton, Hamish --- Billingham, Richard --- Giroux, André --- Moore, Raymond --- Kar, Ida --- Baltz, Lewis --- Cartier-Bresson, Henri --- Steichen, Edward --- Jones, Calvert Richard --- Hall, Algernon --- Cranham, Gerry --- Chadwick, Helen --- Bailey, David --- Evans, Frederick H. --- Belitski, Ludwig --- Becher, Bernd und Hilla --- Eggleston, William --- Gough, Kate E. --- Sternfeld, Joel --- Knorr, Karen --- Reisewitz, Wolfgang --- Muybridge, Eadweard --- Atkins, Anna --- Hoyningen-Huene, George --- Talbot, William Henri Fox --- Tripe, Linnaeus --- Erfurth, Hugo --- Moholy-Nagy, László --- Wilmer, Val --- Beaton, Cecil --- Price, William Henry Lake --- Orozco, Gabriel --- Martin, Paul --- Goldin, Nan --- Hawarden, Clementina --- Lissitzky, Eliezer --- Deakin, John --- McCullin, Don --- Wegman, William --- Hill, David Octavius --- Fukase, Masahisa --- Thompson, Charles Thruston --- Hoppé, Emil Otto --- Emerson, P.H. --- Broodthaers, Marcel --- Bedford, Francis Donkin --- Ross, Horatio --- Fani-Kayode, Rotimi --- Lemieux, Annette --- Hockney, David --- Brandt, Bill --- Kühn, Heinrich --- Cameron, Julia Margaret --- Breslauer, Marianne --- Strand, Paul --- Miller, Lee --- Hollyer, Frederick --- Atget, Eugène --- Evans, Walker --- Penn, Irving --- Ferrier, Claude-Marie --- Bourne, Samuel --- Taylor, Henry --- Bayer, Herbert --- Fuss, Adam --- Le Gray, Gustave --- Sulter, Maud --- Mayne, Roger --- Victoria and Albert Museum [London] --- Victoria and Albert Museum --- Catalogs --- History --- Photograph collections --- London (England) --- Hawarden, Clementina [Lady] --- Gray, Le, Gustave --- Thompson, Charles Thurston --- Lissitzky, El

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Pictures that are made, not taken, are the focus of this exciting collection of works by 90 American artists who are using appropriation, computer technology, performance, and numerous other sources of inspiration to stretch the limits and expand the possibilities of photographic art. 

"Perhaps in the future," Man Ray suggested to Duchamp, "photography would replace all art." The Photography of Invention hints at that future by documenting a decade of startling new work in American photography: work that challenges the accepted hierarchy of the arts and, arguably, establishes photography as the equal of the other arts. Pictures that are made, not taken, are the focus of this exciting collection of works by 90 American artists who are using appropriation, computer technology, performance, and numerous other sources of inspiration to stretch the limits and expand the possibilities of photographic art. The selection of nontraditional pictures includes works by some of the decade's most interesting experimenters—Cindy Sherman, Sherrie Levine, Richard Prince, Barbara Kruger, William Christenberry, Louise Lawler, Stefan Roloff, and others who create or manipulate the subject photographed. Photography has traditionally been used to capture experience and create images; these works, however, examine preexisting images or image styles that dominate our culture. As Joshua Smith points out "mass media and popular culture advertising, fashion movies, television, video, and other electronic media have made the world photographic, become the common language, and shaped a generation's visual and critical viewpoint." Rather than commenting on or representing life, photography is now an independent art form that has expanded the creative vocabulary of contemporary artists. These "made" pictures encompass a variety of styles and techniques: the artists may fabricate or arrange the subject matter for the camera; invent or subvert traditional styles; present themselves in fictive roles invoking allegory or myth, fantasy and illusion; reassemble existing art objects in new contexts; make the psychic appear real and the real hyperreal. Many pictures are made in the usual optical/chemical manner, creating a tension between the obviously manipulated subject and the inherent "truth" of the photographic print; while others are made by the unconventional use of equipment, processes, and materials that intentionally deny the perfect print There are photograms, photocollages, light drawings, chemical images, marked or painted on negatives, photosilkscreens and photolithographs, and new high tech computer-generated imagery.

Photography, Artistic --- Stillman Steel --- Syrop Mitchell --- Thorne-Thomsen Ruth --- Tracey Andrée --- twintigste eeuw --- Verenigde staten --- Wasow Oliver --- Watts Todd --- Weiss Jeff --- Winokur Neil --- Witkin Joel-Peter --- Wodiczko Krzysztof --- Wood Brian --- 77.038 --- Adams Dennis --- Akin Gwen --- Augeri Lynne --- Barney Tina --- Bell Dianne --- Berman Zeke --- Bernard Cindy --- Brooks Ellen --- Bryant Elizabeth --- Bunn David --- Burson Nancy --- Callis Jo Ann --- Carey Ellen --- Carlson Lance --- Casebere James --- Charlesworth Bruce --- Charlesworth Sarah --- Chong Albert --- Christenberry William --- Clegg & Guttmann --- Coleman Judy --- Coplans John --- Cowin eileen --- Cypis Dorit --- De Sana James --- Divola John --- Dunning Jeanne --- Essay by Joshua P.Smith ; Intr. by Merry A. Foresta --- Ess Barbara --- Evergon --- Farrell John W --- fotografie --- Frailey Stephen --- Fuss Adam --- Galgiani Philip --- Gerlovina Rimma --- Goldring Nancy --- Gonzalez Maria --- Haber Sandra --- Hayden Jacqueline --- Hellebrand Nancy --- Jaar Alfredo --- Johnson Larry --- Kasten Barbara --- Kolbowski Sylvia --- Kruger Barbara --- Laster Paul --- Lawler Louise --- Leatherdale Marcus --- Legrady George --- Lemieux Annette --- Levine Sherrie --- Levinthal David --- Ludwig Allan --- Majore Frank --- Maul Tim --- McCollum Allan --- Nagatani Patrick --- Neidich Warren --- Novak Lorrie --- Perlman Hirsch --- Perna Luciano --- Potter Tina --- Prince Richard --- Rankaitis Susan --- Robbins David --- Rodan Ron --- Rodriguez Geno --- Roloff Stefan --- Rowland Anne --- Rubenstein Meridel --- Salinger Adrienne --- Sandrow Hope --- Schlesinger John --- Schrager Victor --- Schwartz Elliot --- Serrano Andres --- Sherman Cindy --- Simmons Laurie --- Skoglund Sandy --- Stark Sandra --- Starn Doug --- Starn Mike --- Exhibitions --- Photography --- photographers --- Smithsonian Institution [Washington, D.C.] --- anno 1980-1989 --- United States --- artistieke fotografie --- United States of America