Charles Traub

Alan Frumkin Gallery

CHARLES TRAUB had been doing extremely strong, black and white photography in which people appeared as textural contrasts, formal elements, variations within the photo frame, vehicles for shadow and light, demarcations of a surface plane—anything but personalities with human distinction. But his recent, color Street Portraits seem to want to retract that former philosophy about photographic priorities.

This new work resembles those four-shots-for-fifty-cent strips you get out of dime-store photo machines. Traub’s portraits are all close up, sometimes shot from below or tilted, with the city buildings behind them at odd angles, accentuating the idea of a momentary stoppage, often as if the people had their noses pressed against the photo surface for a second, only to move on immediately. Some in tee shirts, other business-types in suits and ties, various ladies with too much makeup, people

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