new-york

Susan Leopold

John Weber Gallery

At first glance Susan Leopold's installation seemed poised between artsy Minimalism and a Times Square peepshow. Eleven monochromatically painted wooden boxes were fastened to the wall, each fitted with one or more wide-angle lenses through which one could view minutely detailed architectural scenes. Unlike such “voyeuristic” works as Duchamp's Etant donnés. . ., 1946–66, or, more recently, Aimee Rankin's installations, Leopold withholds sexual or overtly macabre frissons; her scenes are devoid of obvious action, drama, or characters. Instead they seem like documentary evidence, preserved as though a crime had just been committed on the premises. Both resembling and referring to photographs, these scenes articulate photography's uneasy mediations between reality and artifice, memory and history, preservation and decay.

Leopold's minivistas sustain the impression of documentary while

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