los-angeles

John Divola, Forced Entry, Site 29, Interior View A, 1975, gelatin silver print, 20 x 16". From the series “LAX/Noise Abatement Zone,” 1975–76.

John Divola

Santa Barbara Museum of Art/Los Angeles County Museum of Art/Pomona College Muse

John Divola, Forced Entry, Site 29, Interior View A, 1975, gelatin silver print, 20 x 16". From the series “LAX/Noise Abatement Zone,” 1975–76.

It is only fitting that photographer John Divola’s midcareer survey, “As Far as I Could Get,” would be spread across three California museums in three different counties. Those who have managed to see it all surely didn’t see it all in a day, and this insertion of ellipses into the viewer’s experience seems apt for a body of work concerned with temporalities, the photographic suspension of movement and stasis, and the poetics of presence and absence.

The show’s curators, Britt Salvesen, Karen Sinsheimer, and Kathleen Howe, eschewed chronology and threaded Divola’s thematic interests throughout all three presentations. Several series in the exhibition, “Vandalism,” 1973–75; “LAX/Noise Abatement Zone,” 1975–76; and “Dark Star,” 2008; as well as the Theodore Street Project, 2013 (all of which were installed at Santa Barbara Museum of Art, the lead institution in this collaborative

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