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AIPAD News Archive (2009)
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Lee Friedlander at Janet Borden

Posted By Administration, Thursday, December 24, 2009
Updated: Monday, January 13, 2014

With just 47 new and recent photographs, this is a relatively sparse show for Friedlander, but it would probably look crowded with half that number.


Each picture is so dense with visual information that it could use a wall to itself. Friedlander thrives on too-muchness: confusion, disjunction, reflection (often involving sly self-portraiture). The images-within-images include a number of thrift-store, coffee-shop, and beauty-parlor windows that mirror nearby façades. There are pictures taken in California, Texas, Mississippi, and Sweden, but a New York City grittiness prevails.

Read the complete review in The New Yorker.

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Robert Bergman at Yossi Milo

Posted By Administration, Wednesday, December 23, 2009
Updated: Monday, January 13, 2014

The breathlessly over-the-top critical support that propelled the 1998 publication of Robert Bergman's photographs of Americans on the margins (in his afterword, Meyer Schapiro called the portraits "truly profound works of art") seemed all out of proportion to the modesty and intimacy of the work itself.


A new burst of enthusiasm has resulted in Bergman's first major exhibitions—three simultaneous shows, at the National Gallery of Art, P.S.1, and the Yossi Milo gallery. It's a welcome opportunity to see what all the fuss was about.

Read Vince Aletti's review in The New Yorker.

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Ray K. Metzker at Laurence Miller

Posted By Administration, Tuesday, December 22, 2009
Updated: Monday, January 13, 2014

A survey of photographs involving automobiles provides an ideal opportunity to study the terrific sweep and intelligence of Metzker's inventiveness.


Made between 1958 and 2009, the black-and-white work often falls between representation and abstraction: cars are reduced to gleaming outlines and bulky shapes within graphic compositions. The largest and most recent pictures treat their reflective surfaces as fun-house mirrors, distorting the surrounding streetscapes.

Read the complete review in The New Yorker.

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Jeff Mermelstein at Rick Wester Fine Art

Posted By Administration, Tuesday, December 22, 2009
Updated: Monday, January 13, 2014

A New York street photographer in the rough-and-tumble tradition of Weegee, Garry Winogrand, Joel Meyerowitz, and Lee Friedlander, Mermelstein is alert to the idiosyncrasies of people in public.


"Twirl / Run," as his new show and book are both titled, has "an off-the-wallness" that takes some getting used to. Going through years of accumulated prints, he discovered an unusual number that included girls absent-mindedly twirling locks of hair and others of people (mostly men) sprinting on busy sidewalks. For this project, he's combined the two groups of pictures into a weirdly random view of urban life: aimless, hurried, distracted, driven.

Read the complete review in The New Yorker.

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Andrew Moore at Yancey Richardson

Posted By Administration, Tuesday, December 22, 2009
Updated: Monday, January 13, 2014

After his work with Cuba's crumbling architecture, Moore's large-scale photographs of Detroit in ruins are a lot less romantic but just as fascinating.


The pictures are in color, but the burned-out, dilapidated state of many of these sites renders them virtually black, white, and dingy gray. In one abandoned dry dock, someone has set up shelter under plastic sheeting that falls from an upper floor like a waterfall. The shattered, hulking interiors of the Rouge, the legendary Ford factory, and two ornate movie theatres are sad reminders of grander or at least more optimistic times.

Read the complete review in The New Yorker.

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