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Together these developments led to his iconic photographic series Gay Semiotics, in which the subterranean codes and insignia of gay cruising are elevated, not without irony, to a comprehensive sign system. Third, his heady encounter with the linguistic and philosophical concepts of structuralism during this period encouraged Fischer to experiment with the connections between photography and language. Second, he focused intensively on the potential of photographic series, wherein visual meaning derives as much from the relationships between and among photographs as from within any single frame. Finding himself “at the center of the gay universe,” he began creating more frankly sexual photographs. In the thick of San Francisco’s conceptual photography ferment during the late 1970s, Fischer pursued his image making in three compelling directions simultaneously. A retrospective view likewise amplifies the viewer’s appreciation of Fischer’s signature visual wit: his images of gay SM iconography document a sexual subculture while also provoking amusement. x 24 (1978), Boy-Friends (1979), and Cheap Chic Homo (1979)-in light of earlier work makes clear that Fischer’s concerns with portraiture, homoeroticism, formal experimentation, and the tensions between word and image, were present in nascent form at the start of his career. Viewing his famous photographic series- Gay Semiotics (1977), 18 th near Castro St.
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This earlier work contextualizes Fischer’s development as an artist, from his student days at the University of Illinois to his creative maturity in San Francisco.
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The exhibition includes a generous selection from Fischer’s earlier work (some of it produced in Urbana), which has not been publicly displayed in decades.