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FRANCESCA HUMMLER’S simple lapidary gestures (green logs in a bathtub, a toy house burning on a stovetop) are, as Robert Frost wrote poems ought to be, “as different as possible” from one another. Like those of Douglas Huebler and Hiroshi Sugimoto, her procedural poetics contrasts with the more clinical and scientific spirit of typology that often dominates conceptual photography (a legacy of August Sander, among others), tapping into a Teutonic deadpan humor à la Peter Fischli and David Weiss. Her mastery of craft partakes in the tradition’s tidy and exacting Germanness but opens onto something more American, in keeping with the artist’s double origin: a kind of willingness to interfere and improvise, an interest in the energy released when things are out of place. Hummler peels back the linoleum to find her hands covered in snails, which seems to erupt from the aging patterned floor beneath; metal soldiers sprout among illuminated walnuts, rupturing the picture’s impassi
GermanyUnited-statesAmericanGermanDouglas-hueblerFrancesca-hummlerAugust-sanderHiroshi-sugimotoDas-kuckuckseiDavid-weissRobert-frostPeter-fischli