new-york

Frank Majore

Josh Baer Gallery

In Frank Majore’s new photographs, women’s faces veiled by TV scan lines peer out from behind jittery patterns of light suggesting hand-held shots of traffic at night. The light scrawls read as both “modernist,” in their free-form calligraphy, their seeming record of the chance waverings of an unsteady camera, and high tech, like the jagged line of an EKG. It’s interesting that the free-form line, once synonymous with spontaneous experimentation, has come to seem decorative, even campy.

For Majore this work represents a big shift. His earlier images mimicked the pictorial strategies of advertising, which aim to show the product to seductive effect. Majore would present martinis or lipsticks floating in front of increasingly baroque patterns of light. Now he’s dropped the foreground product and made the spectacular light show the focus of the pictures. In the earlier work, the patterns of

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