new-york

Boyd Webb

In recent years Boyd Webb’s photographic setups have focused on encounters between culture and nature, often carried out with violence: violins being ground up between gigantic molars, or a man struggling to extract himself from a turbulent sea. Now Webb has left out the human figure altogether, and given his large, cheery color prints an almost environmentalist twist. In Eyeless, 1989, a small flock of deflated rubber geese are arranged in a circle above the camera and framed against a bright yellow sky; the neck of one goose droops through a squarish hole cut into the clear plastic sheet the geese are sitting on. In Lipreading, 1989, the culture-nature split is presented with such baldly allegorical figures as to be comic: a violin sags through some netting at one end of the image, counterbalancing still more deflated ducks on the other end.

Using cartoonish props and brightly colored

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