Florian Maier-Aichen (German, born )

Florian Maier-Aichen (German, b.1973) is a photographer best known for using digital manipulation on traditional landscape images. After spending much of his early years in Germany, he decided to move to Sweden for college, studying at the Högskolan for Fotografi och Film in Gothenburg, Sweden. He also studied at the University of Essen in Germany before moving to the United States for graduate school, where he earned an MFA from the University of California in Los Angeles, CA.

Though many of his early works mimicked traditional landscapes, he learned alteration and manipulation techniques, which changed the face of his images. Maier-Aichen often uses double exposures, unusual angles, and unexpected patches of light in his images. Drawing inspiration from the early days of photography, some of his pieces have a combination of shadows and light that make the images resemble old-fashioned postcards. Known for mixing photography with digital techniques, his works have Surreal and fantastical elements. He is known for his Untitled series, which used images of different landmarks that he named each piece for, including Saddle Peak and Mount Wilson.

Maier-Aichen’s early works appeared in group shows in different areas of Europe. He was part of a group show at the Galeri Gufot in Gothenburg, Sweden, in 1997, and was part of another group show at Art in the City in Stockholm, Sweden, the following year. The first solo show for the young artist came in 2002 at Blum & Poe Gallery in Santa Monica, CA. As he began to show his work in the Santa Monica area during graduate school, he acquired a fondness for the town, and several other galleries exhibited his work in recent years. The word of his talent soon spread to other areas, which led to gallery showings and exhibits at museums in the United States and Europe.

The Denver Art Museum, CO, the Whitney Museum of American Art in New York, NY, and the Walker Art Center in Minneapolis, MN, have Maier-Aichen’s works on display. In addition to showing his work, the Blum & Poe Gallery also acts as his official representation in the art world. The 303 Gallery in New York represents his work on the East Coast. Maier-Aichen currently divides his time between Los Angeles, CA, and Cologne, Germany.

Timeline

1973
born in Stuttgart, Germany, 1973
1999–2000
DAAD Scholarship, Deutscher Akademischer Austauschdienst
University of California Los Angeles, Los Angeles, CA, M.F.A. (DAAD Grant)
University of Essen, Germany
Hoegskolan for Fotografi och Film Gothenborg, Sweden
Lives and works in Cologne, Germany and Los Angeles, CA

Exhibitions

2012
Natural History, Carnegie Museum of Art, Pittsburgh, PA
2011
Blum & Poe, Los Angeles, CA (solo exhibition)
2011
303 Gallery, New York, NY (solo exhibition)
2011
Baronian-Francey, Brussels, Belgium (solo exhibition)
2011
The Smithson Effect, Utah Museum of Fine Arts, Salt Lake City, UT
2011
Kunstverein Heidelberg, Sammlung Prinzhorn, Heidelberg, Germany
2011
Kunstverein Ludwigshafen, Wilhelm-Hack-Museum, Ludwigshafen, Germany
2011
Fotofestival Mannheim Ludwigshafen Heidelberg, 2011, Kunsthalle Mannheim, Mannheim, Germany
2010
Crash, Gagosian Gallery, London, England
2010
Photo Show 2010, Galleri K, Oslo, Norway
2010
Nuit Blanche, Patricia Low Contemporary, Gstaad, Switzerland
2010
Summer Show, Gagosian Gallery, New York, NY
2010
The Artistʼs Museum, The Museum of Contemporary Art, Los Angeles, CA
2009
Wall Rockets: Contemporary Artists and Ed Ruscha, FLAG Art Foundation, New York, NY
2009
Collecting History: Highlighting Recent Acquisitions, Museum of Contemporary Art, Los Angeles, CA
2009
Snow Machine, Gagosian Gallery, London, England
2009
Nothing is Permanent: Albert Baronian, profession galeriste, La Centrale Electrique, European Center for Contemporary Art, Brussels, Belgium
2009
Dark Summer, Galerie Rodolphe Janssen, Brussels, Belgium
2009
Snow Machine, Gagosian Gallery, London, England (solo exhibition)
2009
303 Gallery, New York, NY (solo exhibition)
2009
15th Anniversary Inaugural Exhibition, Blum & Poe, Los Angeles, CA
2008
WALL ROCKETS: Contemporary Artists and Ed Ruscha, FLAG Art Foundation, New York, NY
2008
to-Night: Contemporary Representations of the Night, Hunter College Art Galleries, New York, NY
2008
Damaged Romanticism, Blaffer Gallery, Houston, traveled to Parrish and Grey Gallery, New York, NY
2008
For What You Are About to Receive, Gagosian/Red October Chocolate Factory, Moscow, Russia
2008
Baronian-Francey, Brussels, Belgium (solo exhibition)
2008
PhotoEspana 08” Florian Maier-Aichen, Museo Thyssen-Bomemisza, Madrid, Spain (solo exhibition)
2007
MOCA FOCUS: Florian Maier-Aichen, Museum of Contemporary Art, Los Angeles, CA (solo exhibition)
2007
Three for Society, 303 Gallery, New York, NY
2007
Mario Testino: At Home, Yvon Lambert, New York, CA
2007
L.A. Desire, Galerie Dennis Kimmerich, Dusseldorf, Germany
2006
USA TODAY, Saatchi Gallery/Royal Academy of Arts, London, England
2006
Particular Matter, Mills College of Art Museum, Oakland, CA
2006
Blum & Poe, Los Angeles, CA (solo exhibition)
2006
Whitney Biennial, The Whitney Museum of American Art, New York, NY
2006
303 Gallery, New York, NY (solo)
2005
Baronian-Francey, Brussels, Belgium (solo)
2005
Photography 2005, Victoria Miro Gallery, London, UK
2005
Group Show curated by Mario Testino, London, UK
2005
Set Up: Recent Acquisitions in Photography, Whitney Museum of American Art, New York, NY
2004
Kommando Pfannenkuchen: Deutsche und Amerikanische Kunst, Daniel Hug Gallery, Los Angeles, CA
2004
Gallery Min Min, Tokyo, Japan
2004
Gallery Min Min, Tokyo, Japan (solo)
2004
The Bridges of Cologne, Blum & Poe, Los Angeles, CA (solo)
2003
Gallery Min Min, Tokyo, Japan (solo)
2003
Gilbert & George, Cristina Iglesias, Mike Kelley, George Lappas, Florian Maier-Aichen, Nikos Navridis, Tony Oursler, Thaddeus Strode, Bernier/Eliades, Athens, Greece
2003
Blum & Poe, Los Angeles, CA
2002
Constructed Realities, Grand Art, Kansas City, MO (traveled to Las Vegas Art Museum (curated by Barbara Bloemink)
2002
Anti-Form: New Photographic Work from Los Angeles, Society for Contemporary Photography, Kansas City, MO (curated by James Welling)
2002
Ich ging im Walde so fuer mich hin: Markus Amm, Florian Maier-Aichen, Gondi Norola, Nicole Wermers, Borgmann-Nathusius, Cologne, Germany
2002
Blum & Poe, Santa Monica, CA (solo)
2001
Jennifer Bornstein, Mark Grotjahn, Dave Muller, Florian Maier-Aichen, Blum & Poe, Santa Monica, CA
2001
Snapshot: New Art From Los Angeles, UCLA Hammer Museum, Los Angeles, CA (traveled to the Museum of Contemporary Art, North Miami) (cat.)
2001
Vision Embraces the World, Echo Park Projects, Los Angeles, CA
2000
Can, Blum & Poe, Santa Monica, CA
1999
Gesundheit, Kunsthaus Essen, Essen, Germany
1998
Art in the City, Stockholm, Sweden
1997
Galeri Gufot, Gothenburg, Sweden

Public Collections

The Armand Hammer Museum of Art and Culture Center, Los Angeles
Cincinnati Art Museum
Corcoran Gallery of Art, Washington DC
Denver Art Museum
Museum of Contemporary Art, Los Angeles
Los Angeles County Museum of Art
Walker Art Center, Minneapolis
Whitney Museum of American Art, New York

Literature

2005
Agenda, Islington Gazette, January 13, 2005
2005
Casadio, Mariuccia. sunset rising, Vogue (Italia), January 2005, pg. 370-376
2005
Chapman, Peter. Private View, The Independent: The Information, January 22, 2005
2005
Dillion, Brian. Photography 2005, Modern Painters, March 2005
2005
Guner, Fisun. Much ado about nothingness, Metro 18, January 2005
2005
Picks of the Week, The Guardian, January 24, 2005
2005
Previews, Dazed and Confused, January 2005
2005
Kunitz, Daniel and João Ribas The ArtReview 25: Emerging US Artists, ArtReview, International Edition volume V3N3
2005
Pitman, Joanna. Young and Original: six visual artists in the frame, The Times, January 2005
2005
Steward, Sue. A focus on six of the best, Evening Standard, January 19, 2005
2004
Holl, Jess. Lying with the camera eye, Los Angeles Times, July 8, 2004, p. E60
2004
Myers, Holly. Undermining Perceptions, Los Angeles Times, July 16, 2004, p. E21
2004
Thornton, Sarah. NOCTURNES, Contemporary, Issue 62, 2004, pg. 32-37
2003
Influence, Issue 1, pg. 88-91