New York

Tim Maul, London Hotel, 1989, C-print, 23 1⁄4 × 15".

Tim Maul, London Hotel, 1989, C-print, 23 1⁄4 × 15".

Tim Maul

Leslie Tonkonow Artworks + Projects

Similar in age to the younger members of the Pictures generation, Tim Maul practices a form of photography that reflects something of the group’s aesthetic of suspicion, along with an adherence to a legacy of “art” (Marcel Duchamp, Andy Warhol) rather than “photography” (Walker Evans, Henri Cartier-Bresson). And yet I can’t help thinking that, just as Russian literature came, according to Dostoevsky, out of Gogol’s overcoat, Maul’s sense of photography fell from William Eggleston’s red ceiling.

Maul finds his subjects in places more than in things, and in things more than in people, as the title of his survey “When Walls Become Pictures”—comprising forty works made between 1974 and 2011—might suggest. In fact, human figures appeared in the show only in photographs within the artist’s photographs, as in Gus Van Sant/Kodak Box, 1981/1986. Not as rare but still infrequently glimpsed

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