new-york

Florian Maier-Aichen

303 Gallery

Hailed by Christopher Bollen as the “anti–Ansel Adams” for eschewing straight photography in, among other things, privileging saturated color, Florian Maier-Aichen is also the Düsseldorf school’s prodigal son. As is oft remarked, Maier-Aichen left Germany to study at the University of California, Los Angeles, in part to divorce himself from the documenting of functionalist architecture and the non-sites of modern industrialism advocated by the Bechers and promulgated in the dispassionate formalism of their many disciples. But his stylized images’ looming monumentality—and to be sure, their own, very different model of formalism—all but return Maier-Aichen to these forsaken points of reference, a situation made clear in his second show at 303 Gallery. In this selection of eleven recent photographs (about half in color and half in black-and-white, with one noteworthy albumen print tossed in

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