With a bevy of his black-and-white street portraits of blind Mexican children now on view at the Cultural Center, we get a chance here to look at what Jed Fielding captures when he encounters sighted young subjects who can respond to the camera at will. Whereas the Mexican series was inevitably voyeuristic, the tables are turned in this one, which was shot in Italy, Spain and Mexico. Especially when the kids are in groups and have leaders, they stand up to Fielding and mug outrageously, admire their expressive friends, or simply ignore the photographic event going down. Feistiness rules the roost, as the leaders glower like fierce protectors, smile with sly superiority, stare down the shooter with intensity, or vogue in masks and seductive poses. Taken together, Fielding’s two shows make the obvious point, which bears reinforcement, that sight is a glorious gift of power. (Michael Weinstein)
Through July 3 at Catherine Edelman Gallery, 300 W. Superior
Lost in Translation: A Review of Crip* at Gallery 400 The strongest works in the exhibition succinctly express the ways the artist relates to their own body while calling out how the artist’s body and body of work has been perceived or coded against norms or ideals.
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