Talia Chetrit, Hand/Sculpture, 2010, silver gelatin print, 24 x 20".

Talia Chetrit

Renwick Gallery of the Smithsonian American Art Museum

Talia Chetrit, Hand/Sculpture, 2010, silver gelatin print, 24 x 20".

There was nothing outwardly difficult about Talia Chetrit’s second New York solo show; eight modestly scaled, soberly framed black-and-white photographs—all but one made this year—ranged evenly around the walls of a small gallery. The prints themselves look simple, too, or at least pared-down. But in her crisp, elegant shots, Chetrit makes everything count, bringing sculptural concerns to bear on a two-dimensional form and referring to historical precedents even as she launches an inquiry into the future of the image. There’s no apparent digital manipulation here, and most compositions could have been arranged in the artist’s studio. Props are employed, but these tend to be portable and often make repeat appearances from work to work. What Chetrit seems to be aiming for is a measured reconsideration of the power and meaning of resonant objects and physical juxtapositions,

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