new-york

Collier Schorr

303 Gallery

Like Dan Graham, Jeff Wall, Thomas Struth, and Candida Höfer, all of whom have trafficked, at one time or another, in deadpan images of suburban culture and daily life, Collier Schorr photographs seemingly banal locales, characters, and events. Though cloaked in ordinariness, these images place as much, if not more, emphasis on framing as on what’s inside the frame. Like much conceptual photography, Schorr’s work is based on a strategy of defamiliarization predicated on instrumentalizing means of “seeing differently” which, here, is tantamount to “seeing difference.”

In her recent installation of just over twenty largish C-prints, entitled Suden von keinem Norden (South of no north, 1995–96), questions of difference are dispatched to a metaphoric land located somewhere amid a cluster of small German towns—Gmund, Durlandgen, and Aelen—outside Stuttgart, notable models of middle-class

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