Los Angeles

Adam Fuss

Thomas Solomon’s Garage

Using the direct printing method of the photogram, Adam Fuss has produced a body of visually exquisite and theoretically inquisitive images. In the ’20s, Man Ray and László Moholy-Nagy viewed the photogram as a means of subverting the mechanicity of photography because it provided a means of creating a photograph without the technological eye of the camera: Fuss exploits it more for its capacity to estheticize, to transform objects and substances into ghostly and ephemeral silhouettes of the “real.”

At first glance, it is the tightly orchestrated formal elegance of these photograms rather than their ambiguous subject matter that is compelling. What appear to be large-scale black and white topographic images of silvery-iridescent desert terrain turn out to be instantaneous pictures of liquid in motion, produced by throwing buckets of water onto the photosensitive surfaces of paper and exposing

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