San Francisco

Ari Marcopoulos

Rena Bransten Gallery

The nine color photographs that constituted Ari Marcopoulos’s concise recent exhibition focus on moments drawn from ordinary life, yet a sense of foreboding pervades all of them. Jennifer, Sonoma, 2005, depicts the photographer’s wife (a frequent subject) peering enigmatically from the shade of an outdoor patio. She holds a lotus-shaped bowl as if in the midst of a snack (a bag of barbecue coals is also just visible in the background), and one of her bare legs is marked by a bloody scrape from some small mishap (the Marcopoulos’s lifestyle appears to be of the gritty, outdoorsy, “alternative” variety). At Rena Bransten Gallery, the picture was hung on the opposite wall from Bike Crash II, 2002, a study of a child’s knobby knees, one of which bears a burgundy gash and the ghostly trace of a Band-Aid.

Is there a dark streak running through the artist’s family? The fact that he pictures his

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