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Review: Black-and-White Photography at Hasted Hunt

Posted By Administration, Tuesday, February 3, 2009
Updated: Monday, January 13, 2014

Black-and-white photography has been declared dead for nearly as long as painting. But it continues to thrive, perhaps because, in the hands of good photographers, it's far from conventional.


Witness this shrewdly edited survey of historic and contemporary work, most of which blurs the line between representation and abstraction. Adam Fuss's billowing smoke, Harry Callahan's sun-dappled grasses, and Michael Flomen's cosmic firefly traces and darkened field of snow stand in for the natural world in an otherwise man-made environment built up shot by shot by Ray K. Metzker, Nathan Harger, Margaret Bourke-White, and Vera Lutter.

From The New Yorker.

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Review: John Divola at Gallery Luisotti

Posted By Administration, Wednesday, January 28, 2009
Updated: Tuesday, January 14, 2014

John Divola has made inevitable decay a central theme of his photography for more than 30 years, beginning with the influential 1973 series titled "Vandalism," shot in abandoned Los Angeles houses.


Five exceptional new works at Gallery Luisotti return to that imagery, marvelously complicating and confounding many assumptions about photography and art.

The setup is simple: A jet-black circle has been spray-painted on several white walls in an empty house, then photographed. The five pictures demonstrate five different spatial arrangements for the painted mark.

Read the complete review in The Los Angeles Times.

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Review: Richard Misrach at Fraenkel Gallery

Posted By Administration, Wednesday, January 28, 2009
Updated: Tuesday, January 14, 2014

Misrach keeping it surreal: Environmental concern has figured in the work of Berkeley photographer Richard Misrach at least since his early records of bombing-range landscapes in the American West.


Perhaps he feels that environmental peril has since intensified since, beyond what ordinary documentary means can express, because his recent landscapes at Fraenkel have taken a turn for the surreal. Misrach declines to explain his methods, but he has produced a series of color landscapes in which values appear reversed, though not strictly in the way of a negative.

Read Kenneth Baker's review in the San Francisco Chronicle.

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Review: Adou at Pace/MacGill

Posted By Administration, Wednesday, January 28, 2009
Updated: Tuesday, January 14, 2014

The Chinese photographer Adou makes his American début with haunting pictures taken in a remote and barren area of Sichuan province.


There are echoes here of Curtis's early-twentieth-century sepia studies of Native Americans, but a mood of desolation prevails. The use of expired film results in mottled, slightly foggy prints, the largest of which are creamy beige and well suited to the works' timeless aura. A girl perches in the cleft of a young tree; a boy chews a piece of meat; a man brings a goose to market. Adou's intensely focused attention gives these ordinary moments extraordinary weight.

From The New Yorker

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Review: Josef Schulz at Yossi Milo Gallery

Posted By Administration, Thursday, January 22, 2009
Updated: Tuesday, January 14, 2014

The super-glossy computer-manipulated work in this Polish-born, Düsseldorf-trained photographer's American début was made over the past six years, but it already feels a little retro.


Schulz begins with photographs of office buildings, elevated expressways, and big-box stores, then strips the structures of all signs of age or individuality. Not only are there are no logos on the buildings in these huge color prints, there are no doors or windows.

Read the complete review in The New Yorker.

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