new-york

Uta Barth

Tanya Bonakdar Gallery

Uta Barth takes photographs which, by virtue of being pictures of nothing in particular, manage to be about a great deal indeed. The pictures are broken down into two different series: either “field” or “ground.” The “Field” series, 1995, (shown at Tanya Bonakdar last spring) comprises photos taken outside; the “Ground” series, 1995–96, (featured at London Projects in June) of pictures taken inside. In the former, Barth (un)focuses on the sort of places you never actually visit, but always pass through on your way somewhere else. So there are scenes of nondescript buildings (with and without trees), nondescript streets and streetlights, and oncoming headlights in the center of the frame: these photos look like what you see, slightly blurred, from the window of your car. In the “Ground” series, she finds the same forgotten, anonymous spaces, except they’re inside a house this time: small

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