PRINT January 1968



A discontent with the conventions of the selected frame, single moment image made Ray Metzker turn to an investigation into the possibilities of synthesis. His works, shown at the Museum of Modern Art, consist of overlapped, multiple exposed, or tonally controlled images, assembled in repeated vertical or horizontal strips—one might even call them modular collages. The overall juxtaposition of stark lights and darks, broadly calligraphic in design, is carefully balanced and manipulated, though at close range emphasis is on the subtle variations between the modular fragments. The idea is not to confuse these composites with cinematography (in which Metzker began his photographic career), but to present a kind of “mosaic for simultaneous viewing.” But an extremely nervous, flickering, sometimes cluttered surface in these assembled photographs does certainly remind one of a film that has

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