New York

Doug Hall

Feigen Contemporary

MODERNISM WAS GREAT FOR SLOGANS, from Mies's “less is more” and Sullivan's “form follows function” to Rauschenberg's quip about acting in the gap between art and lie. Warhol knew it best, perhaps: Modem artists were often great copywriters. Ironically, art in the information age is less slogan-driven; about all we have is the unattributed, shopworn phrase “photography is the new painting,” which didn't really catch on until a few years ago—around the time MoMA acquired the complete set of Cindy Sherman's “Untitled Film Stills” for a cool million. But it's as loaded as any modernist motto, particularly since it treats painting as a singular practice as well as something that's over.

The phrase gains some real currency when you look at the work of American photographer Doug Hall. Hall shares many affinities with the students of Bernd and Hilla Becher—Andreas Gursky, Candida Höfer,

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