It is hard to believe, but Florian Pumhösl has begun to dig even deeper into the strata of modernism—this time, though, his excavations are real and not just figurative. For more than two decades, the Austrian artist has methodically explored the legacy of abstraction.
Back in 2000, Liz Deschenes curated a show at the Andrew Kreps Gallery called Photography about Photography, which included thirteen artists and outlined her approach to the medium. That approach might be described as: rigorous, unorthodox, engaged with the materiality of her work as well as with the architecture in which it is shown, and deeply invested in the medium and history of photography (though she rarely uses a camera).
Francois-Marie Banier’s Writings & Pictures, a small yet ebullient sampling of nearly sixty years of artmaking, provides a snapshot of an artist’s practice that is as unconstrained as it is prolific. Persistently following inspiration and impulse, Banier refuses categorization and has worked in whichever collisions of medium and style best serve his continuous need to create.