Slavica Perkovic’s “Morts Imaginaires” (Imaginary deaths, 1990) might also be called “Portraits of the Artist as Still Life.” Looking at these photographs—black-and-whites and Cibachromes of a woman variously lying, sitting, or standing in and among strewn flowers and floating fishes—I am struck by their impenetrability. The images are as elusive as “imaginary deaths” would suggest, not only in their meanings (is this really death, or afterlife, or some kind of a Jungian dream?), but in their very making. For these sturdily classical tableaux—frontal, centered compositions in shallow stage spaces

For some time now Chuck Nanney has been making huge accumulations of secondhand and vintage garments that function as repositories of stories, affects, and desires. It wasn’t until his recent show, however, that he exposed this aspect of his work. Here, in a series of photographic self-portraits in drag, we find all the poses, hand gestures, and hairstyles associated with the fashion model.

As Robert Nickas explains in the catalogue, the artist’s taste for transvestism goes back to his childhood : “When Chuck Nanney was a young boy, he and his brother Dennis invented a game for themselves called