A picture is worth thousand words, so the old saying goes, but words can say something too. The title of Wolfgang Tillmans’ new monograph, his fourth book for Taschen, doesn’t say enough. Neither do the pictures.
Wolfgang Tillmans. Neue Welt (New Work) is a seemingly generic title. A long interview with Tillmans by Beatrix Ruf coaxes meaning from these brief syllables, finding resonance with a 1928 monograph by Albert Renger-Patzsch, The World is Beautiful. Tillmans expounds at length about digital versus analog photography and simply regards the digital camera as a different tool, the higher resolution a reflection of the higher resolution of a highly stimulated world. But his summation of this phase in his career could be said by any other photographer: he’s “trying out what the camera can do for me, what I can do for it.”
It’s an admirable concept but also unfocused. Neue Welt suggests new eyes, the eyes of a human being trying to take in all manner of stimulus and creating order and sense and meaning out of it. But while I am a fan of the banal school of photography placing these images in context with human faces does not elevate the banality so much as bring down the humanity to a banal level–it’s just another image, whether it’s in Tasmania or London.
Tillmans has recently presented his images in galleries as unframed prints hung flat from gallery walls. Perhaps this is a commentary on the way art consumers expect to have art framed and contextualized, but it’s also comes off as lazy. Tillmans is clearly a hard working, globetrotting image maker, and that his New Work seems lazy could be a reflection on his aesthetic or on the over stimulated world that he embraces and critiques.Powered by Sidelines