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Axel Hütte, fecit
German photographer Axel Hütte has developed in recent years a singular approach to his photographic compositions. Hütte's remarkably rich landscapes, flora, waterfalls and bridges are all depicted with his signature elements: each focuses on a single motif of sky, water, or plant, which takes up the entire image, its position as sole element suggesting a continuation out of the frame. Geometric composition is also a central theme, as Hütte finds and represents the lines, circles and repetitive shapes that exist in nature. The 24 photographs reproduced in Fecit were taken during his travels through Europe, South America and Australia, and record a remarkable diversity of landscapes. They alternate between a poetic peacefulness and a darker, edgier ambience, but all reflect Hütte's unique approach. The title Fecit, a Latin word meaning "he makes," was chosen by Hütte to suggest the artist's role in photography: the landscapes he shoots are there, but the various compositional elements that lead to the final result are the work of the individual, and there are an infinite number of choices for any particular subject.
Axel Hütte. Imperial - Majestic - Magical
Hütte ranks among the leading protagonists of contemporary landscape photography; since the late 1970s, he has made a substantial contribution to the self-assured standing of photography in visual art.Like his fellow artists from the Düsseldorf School of Photography (Becher School) such as Candida Höfer, Andreas Gursky, or Thomas Struth, Hütte stands for the tableau character of the photographic image as an equivalent counterpart of painting.Axel Hütte's artistic work started out in the late 1970s with stark objectification of the reality of portraits as well as urban interiors and exteriors. In the early 1990s, the artist turned to considerably larger picture sizes, with landscape becoming his dominant theme. Unlike his earlier documentary pictures, the more recent large-format works have more of an imaginative and hallucinatory dimension.Accompanies the exhibition Axel Hütte: Imperial - Majestic - Magical, 11 Mar - 10 Jun 2018, Kunsthalle Krems, Austria.English and German text.
Axel Hutte
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After Midnight
After midnight, as America's cities gradually fall asleep, Axel Hutte comes alive. From the window of his hotel room on the upper floors of high-rises, he surveys the nighttime cityscapes of Chicago, Las Vegas, Atlanta, New York, Los Angeles, and Houston: the black silhouettes of buildings in front of a dark sky, rows of street lights, dots of color from neon signs, here and there a bright window. Big cities never sleep, there is no such thing as utter darkness, and stars only rarely have a chance to gain the upper hand against neon and nightlife."
Axel Hütte
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Axel Hutte
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Axel Hütte: Reflexio
Oberschwaben (Upper Swabia), between the Black Forest, Lake Constance and the Allgäu, offers a richness of Baroque architecture and picturesque rolling landscapes. Axel Hütte's images are not intended as portrayals of a cultural landscape and its history. They are photographic images, but not necessarily photographically realistic images. They are, collectively, titled Reflexio. Hütte works with the inversion of the colour spectrum, the reflection of the pictorial space. The photographer's interventions in the realistic image are a radical transformation of what the eye initially registered, they contradict experience; negate customary perception. Instead, they are an autonomous aesthetic...
A Class of Their Own
The pioneer group of the Düsseldorf School The ‘Düsseldorf School’ has become a household name in the art world for one of the most successful and influential strains of modern photography. Coined in the late 1980s, the name refers mainly to the pioneer group of students of the late Bernd Becher, who in 1976 became the first professor for creative photography at a German arts academy. His students included Andreas Gursky, Candida Höfer, Axel Hütte, Thomas Ruff, and Thomas Struth, all of them today internationally acclaimed artists in their own right. Whereas ‘Düsseldorf School’ initially was used as a handy term for a group of artists with the same university’s background, it quickly turned into a powerful brand name both in critical and commercial contexts. Despite its welcomed impact on the art scene, the members of the ‘School’ felt rather ambiguous about their perception as a group which turned them into stars but simultaneously risked levelling individual profiles and differences. What exactly connects and distinguishes them aesthetically is for the first time thoroughly explored in Maren Polte’s pioneering study.
Axel Hütte, Theorea
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