.jerrysaltz writes on MoMA's Wolfgang Tillmans retrospective
he altered the graphic field of photography.installs his art changes the way audiences see it. Often unframed and taped directly to walls, his pictures ripple or pucker from humidity. It’s refreshing to see photographs freed from their sepulchral air locks. They are uncannily alive this way with life spans of their own. “I never thought of a picture as being bodiless,” he has said.
By displaying his work this way, Tillmans brings the photograph into real space. You can sense yourself in relation to the work, your breath touching the surface; you can feel him as participant and spirit guide. It’s very sensual, this dance of subject, artist, and viewer. We do not just stand still and look forward when we look at a Tillmans. We become the full-body sensing systems that we are.pertains to genre.
Tillmans has made huge photos that look like watercolors or drawings, as if he had rubbed sand into their negatives; pictures of what looks like static or sheets of paper dropped into wave patterns. There are darkroom accidents and cameraless pictures made by exposing paper to light. Photographic abstraction has been explored from the outset of the medium, but Tillmans infuses his technical virtuosity with luminous feeling.
On Instagram, Tillmans has begged “rich and educated Republicans” to stop Trump and has warned Europeans of neighbors with “nationalist and Christian-fundamentalist views.” Of his refusal to be acquired by megacollector Charles Saatchi, he has said, “I don’t think Saatchi cares about the art … He’s not a collector, he’s a dealer. And he made his money producing hate campaigns.
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