New York

Gerald Incandela

Charles Cowles Gallery

Gerald Incandela works in the kind of photographic idiom that won’t remain within “normative” conditions, but always pushes toward art. Or toward painting, because the changes crafted through superimposed negatives, cubistic layered planes, textural flourishes, and the strokes of undeveloped fixative masking the edges of these unique prints all move toward its illusionary realm. Yet the photograph is Incandela’s origin and end point, as his artifices both extend and critically return us to the camera eye. His images chip away at monocular vision, stressing the falsity of perspective before seeing in space, and showing the irony of the purist vision, reflected in the hypostasis of the eye, before an experience including wit, memory, and comparison. For if the camera can grasp what the eye cannot—all the dizzying multiplicity of the world’s detail—it can’t capture the human latitude of

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