Board_Advisors_etc 3..5

2002 Last Trip to Venice; Shinjuku Nikon Salon, Tokyo/
Osaka Nikon Salon, Osaka, Japan
2003 Seiichi Furuya; Scalo Gallery, Zurich, Switzerland
Seiichi Furuya;Wekstadt Graz, Graz, Austria

Group Exhibitions

1979 5 Jahre Fotogalerie im Forum Stadtpark; Graz, Austria
1980 Europa ̈ische Fotografen, Teil I: Steiermark; steirischer
herbst ’80, Forum Stadtpark, Graz, Austria
1981 Erweiterte Fotografie/Extended Photography; Wiener
Secession, Vienna, Austria
Neue Fotografie aus O ̈sterreich; Forum Stadtpark,
Graz, Austria and traveling
1982 Lichtbildnisse; Rheinisches Landesmuseum, Bonn,
Germany
1983 Portraits; Fotogaleria Forum, Tarragona, Spain
Geschichte der Fotografie in O ̈sterreich; Museum des

20. Jahrhunderts, Vienna, Austria
    1988 Die Rache der Erinnerung/The Revenge of Recollection;
    steirischer herbst ’88, Forum Stadtpark, Graz, Austria
    Stadtpark eins; Villette in Cham, Zug, Switzerland
    1990 Zeichen im Fluss; Museum des 20. Jahrhunderts,
    Vienna, Austria
    1992 Zeitgeno ̈ssische Photographie aus der Sammlung des
    Museums moderner Kunst in Wien; National Gallery of
    Slovakia, Bratislava, Slovakia
    1993 Border/Borderless; Tokyo Metropolitan Museum of
    Photography, Tokyo, Japan
    1994 Zu Hause in Berlin-Ost; Galeria Mesta Bratislavy,
    Bratislava, Slovakia
    Vertreiben–Flu ̈chten; Nederlands Fotomuseum, Rot-
    terdam, Netherlands

1995 Antagonismes; Muse ́e de l’Elyse ́e, Lausanne, Switzer-

landAntagonismes; Centre national de la photographie,

Paris, FranceNew Japanese Photography; Civic Art Gal-

lery, Yokohama, Japan

1997 The Artist & An Urban Environment; Art Gallery

Slovenj Gradec, Slovenj Gradec, Slovenia

1998 Love’s Body; Tokyo Metropolitan Museum of Photo-

graphy, Tokyo, Japan and traveling

2000 The Model Wife; Museum of Photographic Arts, San

Diego, California and traveling

2001 Open Ends; Museum of Modern Art, New York, New

York

Selected Works

Izu (Japan), 1978

Portrait of Christine, Graz and Vienna, (series) 1978–1984

Me ́moires, 1989

Further Reading

Honnef, Klaus.AMS. Graz: Edition Camera Austria, 1981.

Faber, Monika, Werner Fenz, Christine Frisinghelli, and

Wilfried Skreiner.Me ́moires. Graz: Edition Camera

Austria/Neue Galeria am Landesmuseum Joanneum,

1989.

Stahel, Urs, and Toshiharu Ito.Seiichi Furuya, Me ́moires

1995. Zurich: Scalo, 1995.

Furuya, Seiichi.Christine Furuya-Go ̈ssler: Me ́moires, 1978–

1985. Kyoto: Korinsha Press, 1997.

Faber, Monika.Portrait. Salzburg: Edition Fotohof, 2000.

Faber, Monika.alive: Seiichi Furuya. Vienna: Scalo, 2004.

ADAM FUSS

British

In a time when sophisticated single-lens-reflex (SLR)
cameras are being increasingly challenged by rapid
advances in the resolution and color quality of digi-
tal cameras, Adam Fuss stands apart in his commit-
ment to photographic images made without the use
of a camera. Mechanically if not conceptually align-
ing himself with the earliest photographers William
Henry Fox Talbot, Louis Jacques Mande ́Daguerre,
andJosephNice ́phore Nie ́pce, Fuss works almost
exclusively with paper exposed directly to light. His
images are made with pinhole cameras, large-format
photograms, and silver-plated daguerreotypes. But

unlike his nineteenth-century predecessors, Fuss is

less interested in the objective nature of such direct

representations—the sheer fact of being able to cap-

ture the effect of light bouncing off objects in the

world onto a sensitized medium—than he is in the

metaphorical qualities that arise from direct expo-

sures. Metaphorical associations abound quite natu-

rally from the timeless, fundamental simplicity of his

chosen subject matter: flora and fauna of the natural

world as exemplified by sunflowers, swans, snakes,

and eviscerated rabbits, and elemental icons of pure

energy such as water, smoke, skulls, and newborn

babies. While today we take the photomechanical

nature of photography for granted, Fuss’s anachro-

FURUYA, SEIICHI