new-york

Saul Fletcher, Untitled #276 (Spider Web), 2013, gelatin silver print, 6 7/8 x 5 1/2".

Saul Fletcher

Anton Kern Gallery

Saul Fletcher, Untitled #276 (Spider Web), 2013, gelatin silver print, 6 7/8 x 5 1/2".

At a time and in a place where insanely gigantic seems to be the default scale, Saul Fletcher’s quietly stirring show of some two dozen small photographs at Anton Kern acted as a sneakily bracing disruption of the status quo. The most tangible upshot of Chelsea’s current architectural hypertrophy—nothing more, really, than a blunt spatialization of the distended market that gives rise to it—is that even the most self-confident work often seems to strain under the obligation to live up to the sheer cubic feet devoted to it, lending a vague sheen of flop sweat to even good ideas and persuasive objects. Fletcher, a self-taught photographer who picked up a camera while working on the docks in North Lincolnshire, UK, has shown with Kern for more than a decade and a half, essentially his entire career, and evinced no signs of such stress. As he has with a remarkable consistency

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