new-york

Marco Breuer

Von Lintel Gallery

Marco Breuer has never published a “Verb List” as Richard Serra has, but you get the feeling he has one secreted somewhere. His recent exhibition at Von Lintel Gallery, which presented fifteen years’ worth of his manipulations and mutilations of photographic materials, is a litany of infinitives: to cut, to sand, to scratch, to prick, to burn, to slice. Each action—frequently unnamed but hinted at in the exhibition checklist with phrases like “gelatin-silver paper, burned” or “chromogenic paper, scratched”—determines a work.

For Untitled (Cloth II/100% Cotton), 1998, Breuer placed cotton gauze on standard black-and-white photographic paper and set it on fire in the darkroom. As the fabric burned, the emitted light exposed the paper unevenly, creating a faint photogram of its weave, and the heat turned patches of emulsion a ferruginous red and gold. To make Pan (C-269), 2003, the artist

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