One hundred and fifty studio portraits of unidentified African Americans by unknown photographers now on view at the Metropolitan Museum of Art offer a fascinating peek at self-representation in the mid-20th century. By recently acquiring two major portrait groups represented in the show, the Met announces its intention to build its collection to include images of African Americans. (On view on the Upper East Side through October 8th).
German artist Peter Pillar spotted this surprising image of a woman being silenced by a ghostly hand while driving as he himself was traveling on the highway. As part of a series for which he photographed ads on the back of trucks, then removed text and non-image related info, Pillar lays bare how the images send particular messages. It’s an enticing challenge to imagine what’s would be sold by the original ad. (At Andrew Kreps Gallery through Aug 19th).
Aaron Siskind’s 1954 photographs of high divers leaping into Lake Michigan are included in Bruce Silverstein Gallery’s engaging group show ‘Songs and the Sky’ as an example of the artists’ desire to align his images with music, ‘…in terms of rhythm and repetitions that can be expressed visually.” The gallery takes the connection a step further by actually pairing the photos with sound; in Siskind’s case with a selection by John Cage: 44 Harmonies from Apartment House – 1776 and Cheap Imitation. (In Chelsea through June 18th).
Known for distorting photographic images with liquids, Sara Greenberger Rafferty pushes the idea further in her latest solo show at Rachel Uffner Gallery by layering prints, acrylic and Plexi in images that juxtapose youth and decay. Here, a blurry image of a young woman (hung as if lurking or hiding in the stairwell) recedes behind a skeletal figure. (On the Lower East Side through Dec 21st.)
Sara Greenberger Rafferty, Untitled, acrylic polymer and inkjet print on acetate on Plexiglas and hardware, irregular size: 164.5 x 60.3 x 1.3cm, 2014.
As many as 100 photographs might be layered into one of Israel/New York-based artist Shai Kremer’s images of One World Trade Center’s construction site, to which he had special access from 2011 – 2013. This photo turns construction into a pleasing geometry that balances ladders and girders while just hinting at the incredible amount of activity – on and behind the scenes – that went into rebuilding this site. (At Julie Saul Gallery through October 25th).
Shai Kremer, World Trade Center: Concrete Abstract #13, pigment print, 48 x 64 inches, 2011-2013.
