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| | | | No Two AlikeKarl Blossfeldt, Francis Bruguière, Thomas RuffEdited with text by Ulrike Meyer Stump. Text by Kevin Moore, Edward Juler, Anne McCauley.
No Two Alike documents an exhibition curated by Ulrike Meyer Stump as part of Cincinnati's 2018 FotoFocus Biennial, with its general theme "Open Archive." The exhibition restages the historic encounter between Karl Blossfeldt’s plant photographs and Francis Bruguie?re’s light designs held at the Warren Gallery in London in 1929 and juxtaposes it with the Photograms and Negatives series by contemporary artist Thomas Ruff. The combination of Blossfeldt's biomorphism and Bruguière's abstraction offers clues for the understanding of British modernism, and offers insight into the role photography and photobooks played in the British avant-garde. Throughout his career, Thomas Ruff has expressed great interest in the history of photography and has repeatedly shown a special affinity with Blossfeldt (particularly in his Negatives series); Bruguière's abstract light compositions, on the other hand, have strong formal ties to Ruff's photograms. "No two alike" expresses the three artists' mutual interest in the variant as a creative principle, also advancing the idea that each of these bodies of work presents a variant of the other.
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FORMAT: Pbk, 9 x 12 in. / 160 pgs / 57 color.
LIST PRICE: U.S. $45.00
LIST PRICE: CANADA $60
ISBN: 9783903228870
PUBLISHER: Verlag für moderne Kunst
AVAILABLE: 9/25/2018
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Out of print
AVAILABILITY: Not available
TERRITORY: NA LA ASIA AU/NZ AFR ME | D.A.P. CATALOG: FALL 2018 Page 118 | PRESS INQUIRIES
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| No Two Alike
Karl Blossfeldt, Francis Bruguière, Thomas Ruff Published by Verlag für moderne Kunst.
Edited with text by Ulrike Meyer Stump. Text by Kevin Moore, Edward Juler, Anne McCauley. No Two Alike documents an exhibition curated by Ulrike Meyer Stump as part of Cincinnati's 2018 FotoFocus Biennial, with its general theme "Open Archive." The exhibition restages the historic encounter between Karl Blossfeldt’s plant photographs and Francis Bruguie?re’s light designs held at the Warren Gallery in London in 1929 and juxtaposes it with the Photograms and Negatives series by contemporary artist Thomas Ruff. The combination of Blossfeldt's biomorphism and Bruguière's abstraction offers clues for the understanding of British modernism, and offers insight into the role photography and photobooks played in the British avant-garde. Throughout his career, Thomas Ruff has expressed great interest in the history of photography and has repeatedly shown a special affinity with Blossfeldt (particularly in his Negatives series); Bruguière's abstract light compositions, on the other hand, have strong formal ties to Ruff's photograms. "No two alike" expresses the three artists' mutual interest in the variant as a creative principle, also advancing the idea that each of these bodies of work presents a variant of the other.
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