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View of “Clegg & Guttmann,” 2013. From Left: DA, 2013; BT, 1982/1990/2013; Bildtidningen, 1985/1989/2013.

Clegg & Guttmann

Galerie Nagel Draxler | Berlin

View of “Clegg & Guttmann,” 2013. From Left: DA, 2013; BT, 1982/1990/2013; Bildtidningen, 1985/1989/2013.

Power, it’s been said, has been a central theme of Clegg & Guttmann’s portrait photography since the 1980s. The titles or captions of some works openly catalogue the professional stature of their subjects, and symbols of wealth and position abound: power suits, power ties, strings of pearls, bourgeois coiffures. Some of the subjects, in fact, commissioned their portraits. The images, too, as time has come to show, possess a palpable iconic status and historical relevance not unrelated to power.

First gaining attention in New York and then in the German-speaking art world, where Clegg & Guttmann quickly established themselves, these photographs were more or less eclipsed within the artists’ own practice by their sculptural works––especially those from the early to mid-1990s relating to libraries, which were generally categorized as Context art. Photography, however, has remained a

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