Eileen Quinlan, Passing Through, 2013, gelatin silver print, 25 x 20".

Eileen Quinlan

Miguel Abreu Gallery | Orchard Street

Eileen Quinlan, Passing Through, 2013, gelatin silver print, 25 x 20".

The mostly color work that Eileen Quinlan showed in the “New Photography 2013” show at the Museum of Modern Art in New York this past fall is evidently abstraction yet just as clearly consists of pictures “of” something or other, though what that might be is not readily identifiable. In those photographs, Quinlan—like Cubist painters a century ago—leaves just enough pictorial space to preserve the idea of the image as depiction. By contrast, the twenty-four black-and-white prints (all but one unframed) in her one-person exhibition “Curtains” at Miguel Abreu Gallery suggest that even when the photograph shows something immediately recognizable—when the photo is a portrait, for instance—it does so only in order to vacate the subject, to attain a kind of abstraction. One of the photographs here was called The Voidist (all works 2013), and I got the impression that

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