About

Matt Niebuhr is an artist and architectural designer living and working in Des Moines, Iowa.

.../miscellaneous - is a personal journal, self educational in nature, containing notes and images that inspire me, or that I wish to learn more about - as such, it includes works by other people as noted with full acknowledgment and credit to authors and sources where possible.

I also share content of my own making that I think is worth sharing with a larger audience. If there is any work by others who object to having their work posted here, I will remove the content if so requested.

Visit Matt Niebuhr - Works a site featuring my work exclusively. I established a studio practice pursuing personal work in the summer of 2012 named "West Branch Studio". In 2013 I became a contributing artist and designer with RDG Dahlquist Art Studio and RDG Planning and Design, a multidisciplinary design firm.

Matt Niebuhr - Drawings a visual journal of my work.

If you are interested in work(s) for purchase please see this or simply email me: niebuhr.matt [at] gmail.com.

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Afrum I (White) (1967) Projected light, dimensions variable Solomon R. Guggenheim Museum, New York, Panza Collection
© James Turrell Installation 

Afrum I (White) (1967) 
Projected light, dimensions variable 
Solomon R. Guggenheim Museum, New York, Panza Collection

© James Turrell Installation 

"

…”so real, you’d think it’s not just a drawing but an actual photography.”

- ouch - double ouch to both drawing and photography!

"

~ really anon.  

Never before - in reality again and again…

On the flow of images…   what happens when the flow becomes so great that we cease to actually look?

Benjamin H.D. Buchloh writes in his essay: Gehard Richter’s Atlas: the Anomic Archive referring to a quote by Siegfried Kracauer

"Never before has an age been so informed about itself, if being informed means having an image of objects that resembles them in a photographic sense. […] In reality, however, the weekly photographic ration does not at all mean to refer to these objects or urimages. If it were offering itself as an aid to memory, then memory would have to make the selection. But the flood of photos sweeps away the dams of memory. The assault of this mass of images is so powerful that it threatens to destroy the potentially existing awareness of crucial traits. Artworks suffer this fate through their reproductions. […] In the illustrated magazines people see the very world that the illustrated magazines prevent them from perceiving. […] Never before has a period known so little about itself."

(written in 1927-1928 - thoughts about  how photographic production devastates the ability to form a memory image…  way back in the age of weekly magazines -  what about now?)