new-york

Manipulation and Photography

The Gallery

The title of this show is simplistic: there isn’t a photographic image that isn’t manipulated or manipulating. In fact, curators Kathleen Cullen and Dan Appel brought together work that deals not only with manipulation but with abuse, loss, and violence. The artists seen here also seem to be expressing a deep ambivalence about money. This is a refreshing position for a viewer weary of tongue-in-cheek, disingenuous attitudes toward greed and mercantilism in the art world.

Simon Leung’s Father’s Journal, 1989, is a photocollage of found black and white images (mostly medical photographs from the ’50s) with significant areas of each cut out and rearranged. These pictures start to look pornographic because Leung’s lacunae create the sense that whatever is missing is provocative and unspeakable. Censorship produces obscenity; an absence is worth a thousand words. In one image, a view of a man’s

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