Carol Squiers


The best show of the year was actually nine shows grouped into two large thematic exhibitions—“PROJECTIONS” and “PORTRAITS”—which I saw last May at the Ydessa Hendeles Art Foundation in Toronto. Hendeles is a collector and curator who regularly shows the art she buys in a converted factory. This time she displayed selections by Weegee, Brassaï, Cindy Sherman, Christian Boltanski, Alfred Stieglitz, August Sander, James Coleman, Jeff Wall, and Paul McCarthy. Despite occupying separate galleries, the nine installations added up to a single vision, with underlying aesthetic, cultural, and psychological currents connecting the images and shows. Weegee’s hard-edged fixation on destruction was played off against Brassaï’s sensual reportage, the appropriated innocence of Boltanski’s Children of Berlin, 1975, completed the cycle of Sander’s dispassionate prewar portrait of the good

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