Another of the army of redeemers of the ruins, Shane Prine shoots the interiors of derelict houses, finding in the copious rubble and refuse forms that—but for the fact that they are filthy—could pass for modernist sculptures and assemblages. Prine renders his subjects in black-and-white chiaroscuro, taking advantage of shadows and pools of light to show them forth in their ramshackle backgrounds. At an extreme pole of the photographic proclivity to alert us to the unrecognized beauty that lurks in the most unexpected places, Prine’s work insures that we will never look at a pile of construction trash the same way again—or at modernist sculpture. In Prine’s most powerful shot, he offers a view of the side of a chair looming up from the litter, its back lost in black, its upholstery torn and mended with duct tape, and a weathered board propped against its front—a gangplank to the throne. (Michael Weinstein)
Through April 24 at ARC Gallery, 832 W. Superior
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