Generally, I like Wolfgang Tillmans' work as much as the next person, but I really think his current show at
Andrea Rosen Gallery here in New York is quite overrated. Tillmans went back to his "roots" of tagging variously sized photographs with varying subject matters unframed onto the wall, trying to capture -- however much subjective -- a sense of the
Zeitgeist. But what used to be fresh and exciting, now feels stale and even a bit heavy-handed. I just don't agree with the reviewer of the
New Yorker who states that "This casual, encyclopedic view of the world has become a default mode for countless young photographers, but none of them can match Tillmans when it comes to elegance, intelligence, or emotional impact." It seems to me that the
New Yorker isn't going around town as much as one would hope. Besides, looking at his new body of work, it feels much more like Tillmans is copying himself. And although art critic
Jerry Saltz raves in a New York Magazine review "Tillmans is expanding his old aesthetic, producing images even more street, even less effete, and asking with every photo, 'How can I make a picture nobody else has?'," I can only think that photographing, for example, a turd in the grass(!) feels a bit desperate and thus debunks Saltz as full of ... well ... turds. Of course, there are still great images amongst those assembled here at Andrea Rosen, but they can't hide the fact that the show at large feels rather weak. I really hope Tillmans will find his innovative groove again, pushing his photos further, and edit his prints with more care in future shows.
Image: Wolfgang Tillmans, Heptathlon (2009); at Andrea Rosen Gallery
If you don't find yourself at one of the New York art fairs during the first march week, but rather at the art KARLSRUHE in Germany, please stop by Booth 09 of Galerie Vayhinger in Hall 2. The gallery will have works from my "Critical Distance" series on display. Unfortunately, I won't be able to attend the fair myself, because I have to work (in New York).
Generally, I like Wolfgang Tillmans' work as much as the next person, but I really think his current show at Andrea Rosen Gallery here in New York is quite overrated. Tillmans went back to his "roots" of tagging variously sized photographs with varying subject matters unframed onto the wall, trying to capture -- however much subjective -- a sense of the Zeitgeist. But what used to be fresh and exciting, now feels stale and even a bit heavy-handed. I just don't agree with the reviewer of the New Yorker who states that "This casual, encyclopedic view of the world has become a default mode for countless young photographers, but none of them can match Tillmans when it comes to elegance, intelligence, or emotional impact." It seems to me that the New Yorker isn't going around town as much as one would hope. Besides, looking at his new body of work, it feels much more like Tillmans is copying himself. And although art critic Jerry Saltz raves in a New York Magazine review "Tillmans is expanding his old aesthetic, producing images even more street, even less effete, and asking with every photo, 'How can I make a picture nobody else has?'," I can only think that photographing, for example, a turd in the grass(!) feels a bit desperate and thus debunks Saltz as full of ... well ... turds. Of course, there are still great images amongst those assembled here at Andrea Rosen, but they can't hide the fact that the show at large feels rather weak. I really hope Tillmans will find his innovative groove again, pushing his photos further, and edit his prints with more care in future shows.
Critical Distance at Galerie Vayhinger closed on Saturday, January 30th. According to the Vayhingers, it was well attended and successful. They will take my work also to the upcoming art fair Art Karlsruhe (March 4-7, 2010). The photos were taken by my good friend Toralf Sperschneider (Dankeschön!) who made the trip to Radolfzell with my friend Tom Licht to visit the exhibition .
