At first glance, the thirteen photographs in Talia Chetrit’s show seemed to be “about” genitalia. The artist’s vulva, memorably depicted in Untitled (Bottomless #4), 2015, was again the unambiguous subject of her work, alternately pictured in a full-frontal view, facing the audience from behind a gutted pair of pants in Jeans (all works 2016), or via not-so-subtle allusion, as in Legs, a portrait of a tripod-mounted camera pointing downward, coolly aimed at the artist’s crotch.
Chetrit’s practice has always been marked by an acutely referential display of photographic apparatuses, and for these images, besides showing the camera and tripod, she also included glimpses of the cords that accompany a studio shootmost emphatically, the cable release, a telltale wire frequently seen snaking through the compositions on view. This device, in one instance cradled between her thighs
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