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Thomas Demand, Marina Fine Arts #37, 2011, pigment print, 42 x 63". © Thomas Demand, VG Bild-Kunst, Bonn/ARS, New York.

Thomas Demand

Graham Foundation

Thomas Demand, Marina Fine Arts #37, 2011, pigment print, 42 x 63". © Thomas Demand, VG Bild-Kunst, Bonn/ARS, New York.

Thomas Demand first encountered John Lautner’s fragile, rarely seen cardboard maquettes in 2010 as a visiting scholar at the Getty Research Institute. His subsequent photographs of the California architect’s models, printed in the book Model Studies (2011) and shown throughout 2012 at the Thirteenth International Architecture Exhibition in Venice, Nottingham Contemporary in the UK, and Esther Schipper in Berlin, testify to what an artistic—or specifically photographic—research method can reveal. Besides the series’ titles, which, for the most part, name the clients of Lautner’s houses—Beyer, Franklyn, Goldstein, Segel, Turner, and so on—Demand’s pigment prints (all 2011) provide few clues as to the identity of the iconic structures that the models anticipate. Instead of portraying recognizable aspects of Lautner’s Brutalist, space-age buildings, many of which

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