143 Reade Street – New York 10013

143 Reade is a private gallery in a residential building in Tribeca.

 

“Blow Up”

Dike Blair
Carey Denniston
Shoshana Dentz
David Gilbert
Dario Robleto
Carrie Yamaoka

July 1 – September 30, 2013
By Appointment

In the classic 1966 Antonioni movie Blow-Up, a murder is inadvertently recorded on film by a fashion photographer while innocently taking pictures in a London park. At first glance the dramatic event is invisible to the naked eye but through the process of enlarging the background over and over, the presence of a gunman and victim are revealed.  Given the open ended structure of the film, the metaphor presented through the film’s narrative continues to inform discussions about the construction of meaning by a subject, emphasized by the photographer’s trust of the mechanical, representational memory of his camera over the non-representational memory of his own perceiving body.

There is no crime scene in the fourth exhibition organized by Lucien Terras at 143 Reade Street but a shared inquisitive attitude towards the process of representation and the perception of the represented. The six artists, through painting and photography, question the ideas of realism inherent to their practice and the act of looking itself.

Dike Blair presents gouaches and pencil on paper of windows opening to either a serene blue sky or a gray snowy outdoor. The compositions appear off-centered, as if it were at the periphery of another scene where the action is taking place. Their photo-realist quality brings the viewer back to his or her own similar experience of observation or quiet moments of contemplation.

Carey Denniston’s photographs, which are printed on both sides of the frame, are a close examination of the objects the artist encounters around her. Denniston uses her custom made frames to crop and partially conceal her images, further obscuring our observing of anything physical. Her work investigates notions of perception and interpretation as she diverts the viewer away from reading her photographs as being representational.

Shoshana Dentz’s small oil on canvas works are based on the close and prolonged observation of modest sculptural assemblages set on her studio table. Colors, textures, and distortions of perspective depart from traditional ideas of realism, a term that the artist prefers to figuration, by placing the process of scrutinizing details at the core of her practice.

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