reviews

  • Farrah Karapetian, Accessory to Protest 4 (Red Hoodie), 2011, chromogenic photogram, 47 x 30".

    Farrah Karapetian

    Leadapron

    Early on in the protests that prompted President Hosni Mubarak’s resignation and the end of a nearly six-decade-long secular dictatorship in Egypt, an illustrated tactical brochure was leaked online and translated into English for Western readers. The pamphlet, titled “How to Protest Intelligently,” assumed the voice of the Egyptian people and listed demands and goals alongside instructions on how to carry out acts of civil disobedience as effectively and safely as possible. Among these, a diagram of “necessary clothing and accessories” demonstrated the ways in which everyday items could be

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  • Barbara Kasten, Construct PC/I-A, 1981, Polaroid photograph, 24 x 20".

    Barbara Kasten

    Gallery Luisotti

    The history of abstract photography begins with the inception of the medium itself. The first recorded photograph, taken in 1825 by Frenchman Nicéphore Niépce (he called photography “sun-writing”), depicts a view outside his window. But exposing an image back then demanded a full day’s sunlight, and that grainy picture is most notable for the weird, impossible angles of its shadows. Technology necessitated that early photographs such as Niépce’s capture a palimpsest of accumulated seconds (or hours)—that is, function as images of abstracted time—and yet, overwhelmingly, the medium,

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  • Weegee, The Gold Painted Stripper, ca. 1950, black-and-white photograph, 9 3/8 x 7 3/4".

    Weegee

    The Museum of Contemporary Art, Los Angeles (MOCA)

    Chatting with Peter Sellers on the set of Dr. Strangelove in 1963, Weegee (aka Arthur Fellig) recounts his summer: “It’s been a strange one. . . . I was sent by a magazine to photograph famous photographers. . . . Of course, I included myself.” Though the conversation happened in London, it nevertheless underscores the photographer’s particular relationship to fame and therefore the premise of “Naked Hollywood: Weegee in Los Angeles,” which showcases the Eastern European–born, though quintessentially New York journalist’s stint in Tinseltown. Trading grizzly crime scenes for the soundstages and

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