Florian Maier-Aichen: Season 5 Preview (October 2009)

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How can I catch up on past seasons of Art21?
0:00:04
Past seasons of the Art:21—Art in the Twenty-First Century television series can be found on Hulu, on DVD from PBS and Amazon, through iTunes, and from Netflix
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What does Maier-Aichen have to say about the idea of fantasy?
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On the subject of fantasy in art, Maier-Aichen describes liberties with which artists, including himself, have taken with picturing the American West, using his work The Best General View as a reference (in the forthcoming Season 5 book):

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What happens in Maier-Aichen's segment in Fantasy?
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“Photography used to be like alchemy back in the nineteenth century,” says Florian Maier-Aichen, who uses the computer to introduce imperfections and detach his photographs from reality, bringing them closer to the realm of drawing. Shown capturing his source images with a traditional large-format camera, the artist introduces painterly touches to his photographs with the aid of a digital stylus and tablet.

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See the finished photo: Untitled (Stralsund)
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See this work, and others, from the exhibition at 303 Gallery in New York.

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Where can I see more of his work before the October premiere?
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Maier-Aichen is represented by Blum & Poe gallery in Los Angeles and 303 Gallery in New York.

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Channels: Photography
Artists: Florian Maier-Aichen

This video is excerpted from the Season 5 episode "Fantasy" premiering on Wednesday, October 14, 2009 at 10pm (ET) on PBS (check local listings).

"Fantasy" presents four artists—Cao Fei, Mary Heilmann, Jeff Koons, and Florian Maier-Aichen—whose hallucinatory, irreverent, and sublime works transport us to imaginary worlds and altered states of consciousness.

Florian Maier-Aichen was born in 1973 in Stuttgart, Germany; he lives and works in Cologne, Germany and Los Angeles. Alternately romantic, cerebral, and unearthly, Florian Maier-Aichen’s digitally altered photographs are closer to the realm of drawing and fiction than documentation. He embraces difficult techniques, chooses equipment that produces accidents such as light leaks and double exposures, and uses computer enhancements to introduce imperfections and illogical elements into images that paradoxically “feel” visually right, though they are factually wrong. Often employing an elevated viewpoint (the objective but haunting “God’s-eye view” of aerial photography and satellite imaging), Maier-Aichen creates idealized, painterly landscapes that function like old postcards. Interested in places where landscape and cityscape meet, he chooses locations and subjects from the American West and Europe—from his own neighborhoods to vistas of the natural world. Looking backwards for his influences, Maier-Aichen often reenacts or pays homage to the work of the pioneer photographers of the nineteenth century, sometimes even remaking their subject matter from their original standpoints. Always experimenting, he marries digital technologies with traditional processes and films (black-and-white, color, infrared, and tricolor), restoring and reinvigorating the artistry and alchemy of early photography.

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