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set of 2 c-prints. size each: 40 x 30 cm // Walter Niedermayr's Hintertuxergletscher XXIII is a diptych that captures the Hintertux Glacier in Austria, focusing on the juxtaposition of natural landscapes and human intervention. Each of the two C-prints in this set depicts a rocky formation surrounded by a minimalistic, almost surreal white expanse. The slight desaturation and cool tones lend the image an ethereal, otherworldly feel, highlighting the isolation and the impact of tourism and infrastructure on natural sites. Niedermayr’s composition emphasizes the delicate balance between nature and human presence, encouraging viewers to reflect on the relationship between these realms. Limited to an edition of 100, this work exemplifies Niedermayr's signature approach to minimalist and contemplative landscapes.
Hintertuxergletscher XXIII (set of 2), 2004
form
Medium
Size
40 x 60 cm
- Inches
- Centimeters
Edition
Price
Details
Artist
Styles
set of 2 c-prints. size each: 40 x 30 cm // Walter Niedermayr's Hintertuxergletscher XXIII is a diptych that captures the Hintertux Glacier in Austria, focusing on the juxtaposition of natural landscapes and human intervention. Each of the two C-prints in this set depicts a rocky formation surrounded by a minimalistic, almost surreal white expanse. The slight desaturation and cool tones lend the image an ethereal, otherworldly feel, highlighting the isolation and the impact of tourism and infrastructure on natural sites. Niedermayr’s composition emphasizes the delicate balance between nature and human presence, encouraging viewers to reflect on the relationship between these realms. Limited to an edition of 100, this work exemplifies Niedermayr's signature approach to minimalist and contemplative landscapes.
What is New Topographics?
New Topographics is a term coined in 1975 by curator William Jenkins to describe a group of photographers whose work focused on formal black-and-white images of urban and industrial landscapes. Jenkins initially described their aesthetic as banal, but the photographers themselves argued that their compositions were as significant as those of natural landscapes, emphasizing the beauty in everyday, man-made environments.
