Camp, as Susan Sontag once described it, is expressed as a love of artifice and hyperbole, of “things-being-what-they-are-not.” Willa Nasatir makes pictures in this spirit; she coaxes both illusion and its failure from abstracted still-life photographs. Nasatir’s exhibition at the Whitney Museum of American Arther first major institutional show in New Yorkincludes ten large-scale C-prints and seven more modest gelatin silver prints (all works 2017). Glossy, a little melancholic, and very cinematic, each features illusion functioning variously. Though the images appear to have been digitally altered, each work is the result of the rephotographing of a single-exposure image. Nasatir constructs found-object assemblages on reflective flooring in her studio and subjects the arrangements to extreme lighting conditions; subsequently, she rephotographs the resulting print,
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