Abstract

Using a phenomenological approach, the article describes the experience of viewing a recent exhibition of Thomas Demand’s photographs. The focus is on both the visual experience itself, and the extent to which the events of the weekend inextricably intertwine with the way the photographs make meaning. Demand’s large-scale photographs are found to be more than just surfaces intended for aesthetic appreciation through visual inspection. His construction process, from source-image, to model, to photograph, supplemented with an information-laden press release, creates visual connection-points inextricably interwoven in the experience of being itself. Demand’s work, it is argued, through conspicuous refusal to easily connect indexically to the original scene, makes visible ways in which photography may be understood through ways of knowing described by existential phenomenology.

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