Liquid Properties; Cheim & Read Gallery; New York,
New YorkSelected Works
Untitled (Ark), 1988 (description of image: black and white
photogram of water drop with perfect circle ripple)
Invocation, 1992 (cibachrome photogram of baby in water
against yellow)
Love, 1992 (cibachrome photogram of rabbits and entrails)
From the Series My Ghost, 2001 (black and white photo-
grams, daguerreotypes, 2 or 3 from here: child’s dress,
swan, birds, smoke)
Untitled, 1990 (color photogram of sunflower in full bloom
centered on paper)
Untitled, 1998 (color photogram of snake moving in water)
Further Reading
Fuss, Adam. ‘‘Behind the Scenes with Adam Fuss.’’Art on
Paper68–73, September–October (2002).
Fuss, Adam, Thomas Kellein, and David Galloway.Adam
Fuss. New York: Distributed Art Publishers, 2003.
Fuss, Adam, and Jerry Kelly.Adam Fuss: My Ghost. Santa
Fe, NM: Twin Palms Publishers, 2002.
Fuss, Adam, and Andrew Roth.What is Man. East Hamp-
ton, NY: Glen Horowitz, 1998.
Fuss, Adam, Andrew Roth, and Jerry Kelly.My Ghost,
Daguerreotypes from the Series. East Hampton, NY:
Roth Horowitz, 1999.
Fuss, Adam, and Constance Sullivan, eds.Pinhole Photo-
graphs, Adam Fuss Photographers at Work, A Smithso-
nian Series. Washington, DC, and London: Smithsonian
Institution Press, 1996.
Grundberg, Andy, and Jerry Saltz.Abstraction in Contem-
porary Photography. Clinton, NY: Emerson Gallery,
Hamilton College, 1989.
Hay Halpert, Peter. ‘‘Adam Fuss, Light and Darkness.’’Art
Press, E13-E15, month (1993).
Parry, Eugenia, and Adam Fuss.Adam Fuss.Santa Fe,
NM: Arena Editions, 1997.
Sand, Michael. ‘‘Adam Fuss.’’Apertureno. 133, 2, 44–53,
Fall (1993).
Tannenbaum, Barbara.Adam Fuss: Photograms. Akron,
OH: Akron Art Museum, 1992.FUTURISM
Futurism is a movement of the Italian avant-garde
that emerged in the early years of the century and
exerted a strong influence on all aspects of Italian
art, architecture and design, and literature. While
having the greatest impact on the cultural life of
Italy, Futurism was one of many movements that
swept the European continent advocating revolu-
tionary change and issuing a call to arms to artists,
writers, and musicians of all types to rise up against
the status quo and adopt modern forms and mod-
ern technologies with the intent of improving
society. In photography this movement produced
highly experimental works by numerous figures
from the 1910s to the 1940s.
On February 20, 1909, the Parisian newspaperLe
Figaro published the first futurist manifesto by
Filippo Tommaso Marinetti, who explained his
conceptual innovations for poetry. Thereafter, the
Italian painters Umberto Boccioni, Giacomo Balla,
Gino Severini, Carlo Carra`, and Luigi Russolo,
among others, gathered around Marinetti and
drew upManifesto dei pittori futuristi(Manifesto
for Futurist Painting), published in February 1910,
and thenLa pittura futurista: Manifesto tecnico
(Futurist Painting: Technical Manifesto), published
in April of the same year. Later they created man-
ifestos on other subjects, such as sculpture, music,
architecture, clothes, and food.
The painters committed themselves, in the words
of the French philosopher Henri Bergson, to the
goal of representing the inner, subjective perception
of a body’s movement in flux and presenting its
apparent transposition with other bodies and its
dematerialization. At the same time in Rome,
Anton Giulio Bragaglia and his brother Arturo
were conducting their first experiments with motion
photography, which they called photo dynamism.
Following the futurists’ manifestos, Anton Giulio
Bragaglia came to appreciate the simultaneous per-
ception of successive movements of a body and
represented these in photography through a synth-
esis of long and multiple exposures; he captured the
traces of movement and recorded in a single picture
a body in motion overlapping multiple times. TheFUSS, ADAM