Breuer’s photographs are portraits of post-industrial, capitalist society – facades of distribution warehouses and compositions of stacked, brightly-coloured shipping containers. Devoid of human presence and situated in empty, nondescript landscapes, these structures resonate both a sense of displacement and familiarity. Roy Exley, in Art Press, wrote about “Warehouses and logos”: ‘The collision between beauty and irony in these images means that they have an inherent strength which, while eschewing the authority of the documentary mode, nevertheless invests them with a dynamic that is cool and convincing.’ Breuer’s work is absorbing and his critique of globalisation come across as distinctive and deeply relevant. Breuer is a “taxonomist of corporate self-regard, a shrewd observer of the post-industrial landscape (…)” About his roadside emblems (logos), Marcus Verhagen wrote in Art Monthly that Breuer “Through ingenious formal means, he exaggerates their claims and then lets them unravel until the signs look as strange and impenetrable as ancient hieroglyphs.” The warehouses serie “with their flatness and careful framing, come to look like purely pictorial creations conjured, not caught, by the camera. Frank Breuer is currently a Visiting Lecturer at Harvard University (Boston). He was Bernd & Hilla Becher’s student in Düsserdolf. His recent exhibitions have included solo shows at Fiedler Contemporary (Cologne); Jousse Enterprise (Paris); Galerie Klaus Engelhorn (Vienna); Feigen Contemporary (New York); The Photographer’s Gallery (London) and recently, the Rocket Gallery (London). In July, The Rencontres d’Arles will present three different works: the ‘logos’, the new ‘containers’ photographs and the latest work in his ongoing ‘warehouse’ series.