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Infrared LandscapesFlorian Maier-Aichen

May 28, 2010

Florian Maier-Aichen likens his use of infrared film to an in-between state, discussing photography’s role in picturing the American West and its ability to confound past and present.

More information and credits

Credits

Producer: Wesley Miller & Nick Ravich. Interview: Susan Sollins. Camera: Robert Elfstrom. Sound: Ray Day. Editor: Joaquin Perez. Artwork Courtesy: 303 Gallery, New York; Blum & Poe, Los Angeles; and Florian Maier-Aichen.

Closed captionsAvailable in English, German, Romanian, Italian, Japanese, Korean, Chinese, Italian

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Florian Maier-Aichen

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.

2:38
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Florian Maier-Aichen

12:43
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1:10
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“Los Angeles industrializes landscape. The road is no longer a road; it’s a highway. It’s an industrial highway.”

Florian Maier-Aichen

In this interview from 2008, conducted at the artist’s Los Angeles studio, Florian Maier-Aichen discusses his beginnings as an artist, the evolution of his hybrid practice, and his respect for nineteenth-century landscape photographers.

Photography

5:44
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Trevor Paglen

3:08
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Carrie Mae Weems

17:16
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