“Eigentlich ist mir die Malerei am nächsten, aber ich bleibe doch letztendlich der, der ich bin: der mit dem Licht zeichnet.”
“I am closer to painting than to anything else. However, at the end I am what I am: A painter who paints with light.”
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The magic of photography, which is able to capture a single moment on film, may be on its way to becoming a lost art by virtue of its very omnipresence. Nonetheless, as Walter Benjamin realized, just leafing through a childhood photo album, or close study of the art photography of the past, can still vividly reveal to us the fascinating power of the photographic image.
Douglas Isaac Busch and Martin Blume have mastered the art of still photography in the grand old manner. Their Vestiges project sifts through the remains of an era that the Renaissance termed “the Middle Ages.” A friendship of seven years’ duration between two artists from opposite sides of the Atlantic has resulted in a search for artifacts that seeks to document the cultural roots of both artists. The search, as well as the friendship, has found its visual expression in photographic images of American and European forts from the ninth to the sixteenth centuries. These two artists‘ investigations of Anazi forts in the four Corners region of the U.S. southwest, as well as knights‘ castles in the German state of Rheinland-Pfalz and the Alsace region of France, has followed an extraordinary seismographic trail. These two artists were of course not driven by the desire to make archaeological discoveries, nor did they have an aesthetic bee in their bonnet in the manner of Romantic painters who created pictures of the present infused with melancholy. Vestiges is instead an attempt to investigate the wreckage flung at the feet of the angel of history, and to reconstitute this wreckage visually using the unmatched precision of large format photography.
[Text by Christoph Schaden, 2005, published in: Douglas Isaac Buch/Martin Blume. Vestiges, Stuttgart 2005, p. 5.]
Martin Blume, ‘Vision’, 2004, Auflage 4/25, Schwarzweiß, Baryt, Handabzug, 24 x 20 cm
Martin Blume gilt als bedeutendster Schwarz-Weiß Fotokünstler Deutschlands. Der Himmel auf dieser Schwarz-Weiß Fotographie ist eigentlich blau – so das ich zu der Aussage gekommen bin: „Manchmal muss man erkennen, dass der Himmel blau ist“. Dieses Bild hat eine tiefere Aussagekraft – das ist der Ansatz von Martin Blume. Attraktiv ist auch der 3D Effekt des Bildes. Zustand: Die Fotokunst befindet sich in einem einwandfreien Zustand – an den Seitenrändern weist sie leichte Vintage-Mängel auf.
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