The genre of photo-works, which was one of the developments of the artistic revolution of the 1960s, calls for embedding the photograph in the context of other media to convey a comment on the relation between art and life. In this exhibition of three artists who create ingenious and involved photo-works, Carole Harmel steals the show with her three-shot sequence of color images that are placed in metal frames, torn out to reveal the subjects, and that reflect on the sin of sloth: a sensuous nude woman lies on a bed of roses that progressively engulf her until only the flowers are left. Alan Teller’s and Jerri Zbiral’s collages of appropriated 1940s photos from India, surrounded by the artists’ constructions, convey their imaginary of the subcontinent’s involving culture; and Greg Halvorsen Schreck’s Lambertian photographic portraits, which emerge out of a wood background when light plays across them, are beguiling; but Harmel delivers the punch of meaning. (Michael Weinstein)
Through December 31 at Schneider Gallery, 230 West Superior
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