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Review: Nicholas Nixon: Self & City at Fraenkel Gallery

Posted By Administration, Tuesday, August 11, 2009
Updated: Monday, January 13, 2014

The city and the individual figure exist as polar extremes in much modern fiction and social thought. So Fraenkel's current shuffle of pictures from Nicholas Nixon's series "Self" and "City" makes immediate sense, with its contrast of flesh and stone (and mirroring glass).


Possibly no one would recognize Nixon from his cropped black-and-white self-portraits. A super close-up of his mustache and stubbled chin - "Self (15), Brookline" (2008) - looks as much like a Muppet as a man. The radical disjunction in spatial structure evokes the dilemma of such a creature trying to know its place in such an environment.

Read the complete review in The San Francisco Chronicle.


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"Sexy and the City" Photographs of New York at Yossi Milo

Posted By Administration, Sunday, August 9, 2009
Updated: Monday, January 13, 2014

Andrew Bush's terrific photographs of drivers in their cars still occupy the gallery's main space, but in the back there's a new show that looks at New York as a city in heat.


Most of the pictures are clustered together on one wall, salon style, so romantic images (kissing couples as seen by Weegee, Arthur Leipzig, and Charles Harbutt) get an extra charge from their more explicitly erotic neighbors. André Kertész's rooftop sunbather, Merry Alpern's furtive hooker, and the naked men whom Alvin Baltrop found on the Christopher Street pier were unaware of the camera.

Read the complete review in The New Yorker.

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Review: Lillian Birnbaum at Andrea Meislin

Posted By Administration, Sunday, August 9, 2009
Updated: Monday, January 13, 2014

Birnbaum is not the only contemporary photographer whose focus is adolescence, and her pictures of young girls occasionally recall other, stronger and more provocative work.


Birnbaum, who photographed a group of seven friends between 2001 and 2007, is careful, respectful, and observant, and the best of her work is engaging, even touching. She empathizes with her subjects and is particularly sensitive to that transitional time when girls become intensely self-aware and suddenly more mature.

Read the complete review in The New Yorker.

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Review: "Hot Fun in the Summertime" at Bonni Benrubi

Posted By Administration, Sunday, August 9, 2009
Updated: Monday, January 13, 2014

With all the damp and unseasonable weather this summer, these photographs of sun, sand, and surf are reminders of what we've been missing, as well as what we've endured.


(One of the most evocative images is Peter C. Jones's view of the ocean through a rain-clotted screen.) A classic LeRoy Grannis shot of five surfers riding a breaking wave sets an ecstatic mood, which is immediately grounded by Joni Sternbach's semi-formal tintype portraits of surfers posing next to their boards.

Read the complete review in The New Yorker.

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Review: Tod Papageorge at Pace MacGill

Posted By Administration, Sunday, July 26, 2009
Updated: Monday, January 13, 2014

In 1970, when the country was at war with Vietnam, Papageorge traveled across the United States to take photographs of sporting events, including the World Series, the Indianapolis 500, and the Iron Bowl.


More than forty images from that project—all in crisp, no-nonsense black-and-white—focus on spectators and players in the sort of chaotic moments that don't lend themselves to pretty pictures. Papageorge doesn't attempt to mold these events into balanced compositions; he lets them sprawl and tangle but never slacken. Every inch of his photographs counts; nothing feels extraneous.

Read the complete review in The New Yorker.

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