Angela Grauerholz

Musée d'art contemporain de Montréal

Brooding, heavy, sometimes sentimental or even mundane, Angela Grauerholz’s photographs play on our nostalgia for that style of documentary photography pioneered by August Sander and André Kertész, depicting scenes that range from a couple unloading their bags from a car, to people standing on line, to the interior of an opera house. But Grauerholz uses this style to different effect. Blurred and out of focus, homogenized by the dark sepia tones that permeate each of the 33 Cibachromes, her images are less the real thing than an evocative simulation of the “authentic” artifact. All of the works in this exhibition are scaled to recall Romantic painting (for the 1992 Documenta Grauerholz mounted an exhibition of her works along with German Romantic paintings), while their standardized frames serve to accentuate the pictorial side of photography.

The textural contrasts and quirky obscurity of

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