Here is my unedited first draft version of this review:
On the left wall entering the gallery hang four large photographs by Adam Schreiber. The first looks like splatters of a milky substance upon a glass surface with a dark background. The next features a creamy colored control panel sitting on a similarly hued surface. The third image echoes the first. A pair of shoes seems to float above black flooring with blips of white receding in an even pattern. The final image consists of a group of silicon wafers lying at the end of a machine that can be confused with a metal detector.
The back wall featured six photos from Anna Krachey. Three focused on landscape. The real estate is either developing or has been abandoned. The other three suggest some unknown narrative as they include female figures in snippets of differing scenarios. On the next wall, Andy Mattern has four large photos. Each one captures a nighttime portrait of a lonely building. The lights are compositionally centered and suggest an interior glow. In a niche created by the movable wall hang the works of Bryan De La Garza. Numerous Polaroid photos flank the projection of a video. Both mediums have a similar appearance. They are gritty and colorless like documentaries. They have immediacy to their mage, but also capture a moment in a nostalgic gaze.
The agenda is quiet in this summer group show. The portraiture and the landscape are easily recognizable but just underneath that surface comes the title of the exhibition. In Mr. Schreiber’s work the focus of the camera pops from the picture plane in a 3D optical trick. The main constellation of splatters, the control panel, the shoes, and the wafers appear to hover just slightly over their backgrounds. Ms. Krachey points her camera at scenes devoid of explicit action. The elements of construction reveal periods of transition. Mr. Mattern captures the personality of a location during the most inconspicuous time. At night, with its lighting and the absence of activity, the building’s personality is illuminated. Mr. De La Garza provides snapshots of random people in unglamorous situations. They present authentic, very real, portraits but also elevate these common, maybe lowly, moments into a historical record.
The four artists focus their attention onto differing subject matter but they all present change. Obsolete technology, encroachment, real estate development and individual histories all look back at a moment that is passing. It’s not nostalgic, but matter-of-factly. A memory that fades is a memory forgotten. Frozen in time, the memory sits silently on the surface. The topmost picture in a box of memories.
This show was GOOD.
I’ll tell you ’bout what I sees.