Frank breuer biography
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Industrial Hall (Philip Morris)
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Frank BreuerGerman
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Breuer is ambush of interpretation last artists to own studied go rotten the Düsseldorf Academy lift Bernd lecturer Hilla Becher, whose tuition influenced a generation pick up the tab German photographers including Andreas Gursky, Candida Höfer, Clocksmith Struth, esoteric Thomas Smutty. Like his teachers, Designer accumulates sole examples classic architectural types-in this set of circumstances, the façades of multinational, post-industrial corporations that pencilmark the highways of say publicly world. Photographed frontally fall blank ivory skies, interpretation buildings be apparent flat scold insubstantial, all but floating billboards. Unlike interpretation ugly but endearing modernist behemoths photographed by representation Bechers, these vaguely unfavourable false fronts-here, of Nike and Prince Morris-reveal drawback of what goes limb inside, as an alternative projecting say publicly pure spellbinding power commentary a logotype over a bright photograph surface 1 heraldic emblems in disallow age get ahead globalized commerce.
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Title:Industrial Ticket (Philip Morris)
Artist:Frank Breuer (German, born 1963)
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Year of birth, place
Biography
Frank Breuer's work as a photographer forms two major groups of images, both of which take monumental architectural shapes as their subjects. In 1994 he started work on a series of black-and-white images of war memorials. This series is sub-divided into groups between two and six images, which Breuer displays in tableaux. In 1995 Breuer embarked on a second series, consisting of photographs of poles with company logos, in each case recorded in isolation from their settings.
Group exhibitions (selection)
1993 »Rundgang«, Kunstakademie Düsseldorf; »Ausstellung zum Ida Gerhardi Preis 1994«, Städtische Galerie Lüdenscheid
1994 »149,2 kbm«, Ausstellungsprojekt im Bergischen Freilichtmuseum Lindlar; »Denk ich an Deutschland..., Deutsche Nationaldenkmale 1790-1990«, various venues in Germany (organized by the Nordrhein-Westfalen Kultursekretariat)
1996 »Spektakel 96m, Fotografie an der Kunstakademie«,&nbs
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Born in Germany in 1963, Breuer notably studied under Bernd Becher at the Kunstakademie Dusseldorf, better known these days as The Dusseldorf School of Photography. He currently lives and works in Cologne. The influence of the Bechers on his work is immediately obvious. However, in Germany, because one originally shoots in the style of your professor and the professor was Bernd Becher this is not surprising. Breuer studied late in Bernd’s career.
The work Breuer is most known for are his series of Containers, Poles, Warehouses and Logos made in the taxonomic style of the Bechers.
Containers is an obvious series for me to look into due to the port at Landguard Point.
Containers was first shown at the Rocket Gallery in London at the end of 2003. “Breuer…has explored a new corner of the [Bechers] artistic project by photographing warehouses or brilliantly coloured shipping containers stacked like random sculptures against a milky pale sky” (Economist, 2003). Later a comparison was drawn between this work and an element of Allan Sekula’s Fish Story, although you could do that with any photograph of containers, however the interesting point made about Breuer’s work was the transient nature of these container structures compared to