new-york

Moyra Davey

Murray Guy

The objects populating Moyra Davey’s photographs—analog electronics, unplugged and shelved; empty bottles of whiskey, appearing wherever they were finished—are things whose primary use-value has expired, items largely out of exchange, which exist, in curator Helen Molesworth’s words, “at the margins of commodity culture.” Among the works in the artist’s recent show at Murray Guy, titled “My Necropolis,” Davey’s “Copperheads,” 1990, a series of close-ups of Abraham Lincoln’s profile on the face of the US currency with the least worth, perhaps pushes this notion the furthest, while also eloquently summarizing how the exhibition as a whole evinced not only a refusal to fetishize the new but also a sense that these impressions of spent desires are images received, rather than taken.

In Davey’s 1994 “Newsstand” series (from which four works were also on view here), she created a Becher-like

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