Justin Hoffman

  • Ralf Peters

    Night can mean many things. It can embody complete silence or universality, a sense of the cosmic. It can also frame the less reputable side of urban life and its darker amusements, as in film noir. In Ralf Peters’s new series of photographs, “Open Studies,” 1998, night creates a gloomy, menacing atmosphere and provides the precondition for an imposing use of light. Peters’s noir photographs seduce with a brilliance and luminosity known only in night photography.

    “Open Studies” comprises various shots of commercial buildings, people working on computers in their apartments, and New York street

  • Raimond Kummer

    It is not surprising that Raimund Kummer entitled his latest opus Rosebud, 1991, for this is the key word in Orson Welles’ film classic Citizen Kane, 1941. This movie masterpiece, which tried to expose the truth about the press czar William Randolph Hearst by unearthing childhood experiences, is characterized by a play of lucid proportions and camera work, which is also reflected frequently throughout Kummer’s oeuvre. He steers the viewer’s eyes, creating astonishing situations only to unmask them quickly as illusions. In so doing, he gropes his way along the threshold between the real world

  • Michael Kunze

    Almost no other artist in Munich is currently igniting such sharp controversy as Michael Kunze. Some people see him as the visionary new-age protagonist, others call him a hard-core Conceptualist. In fact, his works seem virtually predestined to create misunderstandings, but they are a committed attempt to investigate new painting positions in the ’90s. “Bleibe und Ansatz” (Abode and beginning) is the title for his second solo show, which was comprised of 50 small paintings running like a frieze along the walls of the gallery. Facing the walls are five identical sculptures placed on the pillars.

  • Thomas Struth

    This show was comprised of 21 photographs taken in Naples, Tokyo, and Rome. Thomas Struth’s photographs of Neapolitan streets do not correspond to our image of this city, for almost no one is to be seen in them. Like the photographer who fills books with pictures of significant architectural monuments, Struth arrives at his locations at dawn in order to experience the architecture in its pure state. His creative principle is rooted in an abstract, formal thinking. The edges of buildings are straightened by the large-format camera, and the viewpoint is selected in such a way as to produce