new-york

Paul Shambroom

Julie Saul Gallery

Paul Shambroom's “Nuclear Weapons” photographs—images of soldiers climbing on and around nuclear warheads—introduced the Minneapolis-based artist to a national audience at the 1997 Whitney Biennial. The series, which was impressive for Shambroom's ingenuity in gaining access to these classified spaces as much as for its formal rigor, toed the line between reportage and art, engaging a kind of watchdog politicism that characterizes much contemporary photography. In his second New York solo show, Shambroom showed a new series, “Meetings,” begun in 1992, that continues his “documentary” examination of instruments of power. The artist traveled across the United States, photographing small-town council- and other local-government meetings—showing participatory democracy at the grassroots level. If “Nuclear Weapons” put macroscopic power in this country on display, these images

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the November 2002 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.