Seamlessly merging single color images into panoramic “constructed landscapes,” Kevin Malella comes up with compelling scenes that could be taken as straight shots featuring brilliant juxtapositions. Sheer beauty is Malella’s strong suit, as when he offers up a study in which railroad tracks dusted with a fresh carpet of snow foreground a tract of suburban duplexes abutting the towers of Chicago rising in the distance on a soft partly sunny day. Guillermo Srodek-Hart moves inside and shoots cluttered old shops in rural Argentina, delivering rich and subtly lit color photos that combine complex composition with densely overflowing content, as in his study of shelving in a general store on which cases full of gaucho knives vie for attention with crates of vegetables, spools of twine, bags of dog food and fertilizer, and a stuffed wildcat and falcon, not to mention most of the rest of the stock. Evincing perfect complementarity, Malella and Srodek-Hart, each in their own ways, achieve rare marriages of form and fact. (Michael Weinstein)
Through May 8 at Schneider Gallery, 230 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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