Gabriel H. Sanchez

  • picks April 18, 2014

    Laurie Simmons

    If Laurie Simmons’s early works from the late 1970s function as a microcosm of repressed societal woes, many depicting miniature figurines of apprehensively posed housewives, she has today a poignant commonality in Japanese cosplay. A subculture of “costume play” known as Kigurumi, the hobby brings together men and women who prefer to socialize while dressed as their favorite Anime characters. They are depicted here in thirteen photographs as physical apparitions of Simmons’s previous dollhouse muses.

    Simmons here equates “Dollers” with our own personal experiences with social media—in which the

  • picks February 24, 2014

    “What Is a Photograph?”

    Many of the artists in this expansive exhibition place an emphasis on the physicality—or lack thereof—of photography rather than on its capacity to represent the outside world. As a whole, “What Is a Photograph?” might be taken as a diagnostic inquiry, with the title reading as a rhetorical question. Curated by Carol Squiers, the exhibition includes twenty-one artists, ranging from Gerhard Richter and James Welling to Liz Deschenes and Eileen Quinlan, and has tasked itself with surveying the medium since the 1970s.

    The work of both Matthew Brandt and Letha Wilson exhume a long-standing tradition

  • picks January 22, 2014

    Thomas Struth

    For his first solo exhibition in the United States in some four years, Thomas Struth debuts a collection of photographs that depicts sites of fantastic technological innovation. Of the fourteen works on view, which include an image of the medical facilities at Charité in Berlin and a lab at Georgia Tech, nearly half were taken at the Anaheim, California, theme park, Disneyland. A choice subject considering Struth’s rebus of late—to depict what the artist describes as “the processes of imagination and fantasy.”

    As is typical of the artist’s repertoire, several photographs occupy a gallery

  • picks December 11, 2013

    Barbara Probst

    A single work by Barbara Probst may contain as many as a dozen perspectives of a single subject, captured simultaneously by triggering a radio-controlled release system. Her latest exhibition expands upon her two-plus-decade practice, during which she has confronted the limitations of the photograph—specifically as an isolated incident inherently flawed in its singular perspective of reality—calling upon the capacities of the photographic machine to create a more omnipotent if objective eye.

    See one of the largest works here, a grid of twelve photographs that tile one wall from floor to ceiling.