RECOGNITION AND ORIENTATION are the central concerns of Miriam Böhm’s production: What do we look at, and from where? Over the past decade, following studies in Vienna and Amsterdam, the Berlin-based artist has made pictures that work with and upon the constructed nature of photographic representation. Recently, in the series “Archive,” 2008; “Areal” and “Unfinished,” both 2009; and “Inventory,” 2010, Böhm has emphasized recursive and recombinatory methods, photographing physical arrangements of mounted photographs to produce compact groupings of interrelated images. Each set incorporates slightly different source material, including historical memorabilia, handmade renderings of marble textures, and landscape photographs taken by the artist; and each set follows slightly different parameters, as Böhm varies the physical characteristics of the mounts, their arrangement in space, and the

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