Harking back to the voguish spiritualism of a century ago and deploying its rich photographic techniques—the light blue cyanotype, the faded pink kallitype, the attenuated etched tintype and the luminous dreamy gum-platinum print—John Metoyer serves up seductive surreal images with more than a dash of the gothic and some side orders of grim wit. Thoroughly postmodern, Metoyer simultaneously pays homage to the old-school experimentalists and subverts them; in “Phantom Limb,” we are treated to the vision of a prosthetic leg levitating above a draped table, as though it had been summoned at a séance, perhaps to the horror of a bereaved lover seeking rapport with a soul who had passed to the far side. Seeking to vindicate the “alternative process photography” of a long-lost era by celebrating its imagination, craft, beauty and “poetry;” to disturb our complacency in everyday life and to have some fun in and with the process, Metoyer is sublimely successful on all counts. (Michael Weinstein)
Second Sets: A Review of John Sparagana at Soccer Club Club Sparagana subverts the static documentation of a time-based medium by imbuing the image with an infinite set of potentialities—his blurred images shimmer like specters of time and space ready to unfold.
For Us: A Review of "Something from Something" at Engage Projects Kushala Vora and Adia Sykes’ collaboration "Something from Something" tells us as viewers that knowledge, art, creation, inspiration, love—really anything you can think of—has a place of origin.
Women Behind the Lens: A Review of "From Her to Eternity" Courtney Love curates on the street. Just west of Wabash on the corner of Eighth Street, there is a wall of stellar rock star images that includes a special collection made by women photographers over the years.
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