Michael Hoppen Contemporary, London, January 2004


Monograph by Mel Gooding

Prudence Hone,
The Guardian, Saturday, 8th November 2003

"Marcus Reichert is a well-known film-maker and painter as well as a novelist and photographer. This collection of his carefully composed pictures covers the past 30 years and ranges from Savannah, Georgia to Rome, Kalamaki, Madrid, Paris and Ramsgate. The short comments from Mel Gooding tend towards the gnomic - 'These photographs have no titles. (Each might be entitled
Untitled or Ohne Titel.)' - but he nails the 'quality of the uncanny' in Reichert's shots of empty rooms, two or three nudes, or the corners of buildings. Is that a watery grave in a garden in North Carolina, or merely a coffin-shaped pool? There are few portraits, but the angles and dreamlike atmospheres suggest someone has just moved out of shot, too swiftly for Reichert's shutter to capture more than a shadow. (And yes, it is that Ramsgate, now looking as though Edward Hopper had had a hand in its construction, or at least in the lighting.)"


Simon Lane, International Critic, Rio de Janeiro

The subject of a special collaboration with the British art magazine Modern Painters for 2002,  Marcus Reichertís photographs have been pronounced "stunning" by the international critic Simon Lane. Lane writes: "The brilliance of the photograph (
Sally MacLeod, New York, January 1982) lies not just with the figure, recumbent, seductive, enchanting, but in Reichertís ability to create a true, which is to say illusory, impression of two dimensions, as if the image (given that all things of beauty made by man are naturally antithetical, inviting contradictions whilst resolving paradoxes) were the product of a painting or, indeed, the record of a non-existent painting, the sweetest hoax of all. Indeed, Reichert captures the strange majesty of a world in trans- formation."

Portrait of the Artist's Wife: Photographs 1966-2011 (Ziggurat Books International, London & Paris) 89 colour reproductions, 104 pages, 20 x 28 cms / available from The Book Depository


Stephen Barber, hailed by The Independent on Sunday (London) as 'a cultural historian of real distinction ... (who) gives us superb, rich unjudgemental portraits of multi-stranded societies ...' writes:

"In Marcus Reichertís photographs, urban spaces are stripped to the bone, and corporeal surfaces compacted to their raw architectural components. The gestures of the eye delineate the dynamics (often, the ailing dynamics) of space. Those gestures of the photographing eye are attuned with the dilemmas or split-second intuitions that determine the gestures of painting (a medium in which Reichert also works). But photography possesses and opens out another, contrary matter. Reichertís photographs encompass all of the vital contradictions that make up the contemporary image: they form a final residue of the image, in which only the eroded components of time and space remain."

From Portrait of the Artist's Wife: Photographs 1966-2011 (Ziggurat Books International, London & Paris) / available from The Book Depository


"In a world caught up in the pseudo-sophistication of a new barbarism, the power of the photographic image to transform thought becomes ever more compelling and, in many ways, ominous. There is always for the photographer the will to make sense of chaos - to make it legible - but the conjuring of an image for oneís own philosophical purposes, however calculating or innocent, necessarily constitutes a kind of aesthetic totali- tarianism. I regard my photographic work very much as an objectification of the unreal: I perceive an idealised world, in formal and atmospheric terms, that does not exist, at least not until the photograph is taken. When I compose a picture, attempting to remain faithful to my instinct for abstraction, I seek a simplification and hence a purification of what I see. Given the staggering abundance of literally everything - visual detritus strewn everywhere - my job is to isolate and distil whatever peculiar beauty I might find lurking in the miasma. In the camera, when one fastens with determined intent upon another human being, an unfamiliar interior, a darkened building, one can impose all sorts of ulterior meanings on that presence. This proposition - of evoking a new reality - awakens an almost ruthless determination in me. Ultimately, the subject collaborates in the act. Nevertheless, one imposes an egocentric idea of beauty on the subject, and thereby on the eye of the beholder."

Michael Hoppen Contemporary, London, January 2004
Reichert: The Human Edifice
by Mel Gooding, with 100 images in colour, is published by Artmedia Press, London and available from
The Book Depository and amazon.co.uk and amazon.com

Marcus Reichert at The Sony World Photography Awards
for Photoicon Magazine: 
Journal and Images

Enquiries: reichertstudio@wanadoo.fr