American artist Morgan Fisher became prominent in the early 1970s as an experimental filmmaker in the structuralist milieu, whose main interest was not the content of that depicted but rather the analysis of the medium itself. In the mid 90s Fisher turned to monochrome painting and the installation of monochrome paintings.
Fundamental questions on the history and aesthetic of perception as well as its inscription in genres and technologies are central in all of Morgan Fisher’s work. Foregoing the illusionism of narrative, Fisher reveals the conditions of perception in his films and reflects the creation and the nature of the filmic image.
His post-conceptual painting deals with the relation between colour, size and form of an image, frames, the relationship of figure and ground as well as the observer’s point of view – themes that have been contested since the abstraction of modernism and minimalism.
English and German text.