TABLE OF CONTENTS

PRINT Summer 2009

JOSH BRAND

WHEN FIRST ENCOUNTERING Josh Brand’s modestly scaled photographs, it’s easy to get caught up in questions about facture: One wonders just how the works’ arresting depths and subtleties of hue and contrast have been achieved. For, along with contemporaries such as Liz Deschenes, Markus Amm, Eileen Quinlan, and Wolfgang Tillmans, Brand employs a repertoire of sleight-of-hand analog procedures and effects. More specifically, he embraces darkroom techniques and color-printing processes now shadowed by advances in digital photography—recalling a shift in the 1990s that saw artists return to 16-mm film for its physical properties and for its formal differences from digital video. And yet Brand adopts these arcane techniques in order to reinvent them, to explore the seemingly counterintuitive pairing of abstraction and photographic means.

In 2003, after studying film and photography at the Art

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