British photographer Sarah Pickering has devoted herself to documenting in color and black-and-white the sites where first responders train for disasters and civil disorders in environments constructed for the purpose of simulating the dangers that they might have to confront in the real world. Pickering has a special taste for shooting modest rooms that have been set on fire for her and controlled explosions and gas clouds in the fields, but her premier endeavor is her series on Denton, England, a stage-set microcosm of a mid-size city existing only to be the scene of riot training for SWAT teams. When Pickering is around, Denton is depopulated, but signs remain of what the police are meant to control; a barricade of shopping carts, tires and construction boards blocks off an alley framed by dismal working-class flats that are simply facades. Although she has a socially critical intent, Pickering’s images turn out to be politically neutral; those who support the state will be happy that the security forces are sharpening their skills, and opponents of the ruling order will detect the mechanisms of malign power. (Michael Weinstein)
Through May 23 at the Museum of Contemporary Photography, 600 S. Michigan.
A New Vision: A Review of Milwaukee's Sarah Ball Allis Art Museum Curator Kate E. Schaffer has gathered a group of works by femme, women and nonbinary artists that interacts, intervenes and innovates with the museum’s permanent collection to reveal the life of the explorer, traveler, caretaker and collector Sarah Ball Allis.
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