Matthew Brandt’s artist website here.
Matthew Brandt, Wilma Lake CA 1, c-print soaked in Wilma Lake water 2008.
Matthew Brandt, Alcova Reservoir WY 2, c-print soaked in Alcova Reservoir water 2008.
“If experimenting with the processing and surfaces of photographic prints seems like a relic in the digital age, it’s far from it. If anything, today’s predominance of screen-only interaction has made the importance of the photo as object more beguiling to both emerging and established photographers.” – Lori Fredrickson from American Photo. Read more about this series here.
Unfortunately, these jpegs don’t do justice the physical presence of Marco Breuer’s works currently at Yossi Milo Gallery. Large, aggressive and featuring prominent gestures that are usually associated with abstract painting, these large photographs challenge every notion of what constitutes a modern image.
Marco Breuer, Untitled (Fuse/Day) 1999. Gelatin Silver Paper, exposed/burned.Marco Breuer, Untitled (C-1228) 2012. Chromogenic Paper, burned.
Marco Breuer, Untitled (C-596) 2006. Chromogenic Paper, exposed/scratched.
Marco Breuer, Untitled (C-1379) 2013. Chromogenic Paper, burned/scraped.
Marco Breuer, Untitled (C-659) 2006. Chromogenic Paper, exposed/embossed/scratched.
Marco Breuer, (Spin C-859) 2008. Chromogenic Paper, embossed/scratched.
Marco Breuer, Untitled (Fuse), 1995. Gelative Silver Paper, burned.
As the idea that everyone is a photographer (thanks, iPhones) spreads and photographs become merely images that are viewed on a screen, (talking about you, instagram) is it not wonderful to see the photograph reduced back to its most primal form? The Photograph as object, as evidence of a single event; created through the chemical reaction generated from destruction of a photo paper that is slowly becoming archaic.
Like this work? You might like Chris McCaw’s Sunburn series too.