Michael Wolf (photographer)
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Michael Wolf (German 1954 - )
In a series of photographic projects revelatory of the places where he finds himself in and to a larger extent his soul, Michael Wolf has explored the complex human conditions of poverty and futility. Wolf delves into subjects such as the formal and improvisational aesthetics of the shabbiest buildings, rubbish carts, filthy mops and the often-overlooked human presence at the heart of international industry, and the idiosyncratic ways city-dwellers shape their surroundings in an "organic metropolis." Throughout these interrelated series Wolf draws into question notions of public and private space, anonymity and individuality, history and modern development. Attracted to the uglier side of life, Wolf photopraphs what may appear to be meaningless and valueless objects and questions his viewers and the poor souls subject to such lives. Kenneth Baker, critic for the San Francisco Chronicle, has written of the "formal intelligence and acuity of observation" evident in Wolf's photographs, and while Wolf is meticulously and consistently observant, his photographs reflect a manner of working that is intuitive and fluid: from series to series Wolf assumes a range of viewpoints, intimate in some cases and removed in others, and alternates between approaches that are rigorously formal and playfully lyrical. Wolf's photographs have been exhibited in Asia, Europe and the United States, and are included in the permanent collections of prominent institutions. His large-scale installation, "The Real Toy Story", was on view at the Museum of Contemporary Photography, in Chicago, in 2006. Wolf's monographs include Hong Kong: Front Door/Back Door, (Thames & Hudson, 2005) and Sitting in China (Steidl, 2002).
In a diverse array of photographic projects Michael Wolf explores the complex cultural identities of China and Hong Kong, where he has lived since 1995. Wolf delves into subjects such as the formal and improvisational aesthetics of Hong Kong's architectural forms, the often-overlooked human presence at the heart of international industry, and the idiosyncratic ways city-dwellers shape their surroundings in an "organic metropolis." Throughout these interrelated series Wolf draws into question notions of public and private space, anonymity and individuality, history and modern development. Attuned to the cultural and economic undercurrents of his adopted home, Wolf remains humanely attentive to the personal details as well. Kenneth Baker, critic for the San Francisco Chronicle, has written of the "formal intelligence and acuity of observation" evident in Wolf's photographs, and while Wolf is meticulously and consistently observant, his photographs reflect a manner of working that is intuitive and fluid: from series to series Wolf assumes a range of viewpoints, intimate in some cases and removed in others, and alternates between approaches that are rigorously formal and playfully lyrical.
