Vintage work mixes with new images in new exhibition at Janet Borden Inc.

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Vintage work mixes with new images in new exhibition at Janet Borden Inc.
The great quality of a group exhibition is that it presents an artist’s work in dialog with others.

BROOKLYN, NY.- Janet Borden Inc. is presenting a new exhibition, Places, Faces, Traces.

A wonderful range of talent is showcased in this exhibition, vintage work mixing with new images, creating a conversation among artists whose work addresses some of the most compelling aspects of photography.

Included in the exhibition are gallery artists and a few ringers. The great quality of a group exhibition is that it presents an artist’s work in dialog with others. Seeing these works side by side permits a whole new understanding for their subtleties and visual language. It is a curatorial privilege and challenge to present work in a new context.

The exhibition commences with David Brandon Geeting’s “Shadow Ice,”a visual meditation on water, from his series Neighborhood Stroll. Geeting has abstracted a mundane view of a windowsill into literal cliffhanger. This piece is paired with John Pfahl’s 1977 classic “Triangle, Bermuda,” where a three-dimensional riddle is solved in its two-dimensional form. This visual condundrum is from his groundbreaking series, Altered Landscapes. When seen together, the effect of each is amplified. This is one of the best and most satisfying qualities of photography.

Alfred’s Leslie’s “Approaching Springfield,” from his extraordinary series 100 Views Along the Road landscape is shown next to S.B. Walker’s Night #10. Oddly, Leslie’s Notan watercolor looks like a photograph, and Walker’s photograph appears as a cartoon watercolor.

Jan Groover’s Untitled 267.3 is a dizzying experiment in planes and focal points, directly addressing the idea of mark-making in photography. Robert Therrien’s conceptual Polaroids evoke a similar mindset to the late Robert Cumming’s great optical experiment, The Ball Was Placed by the Folding Screen. Both artists’ work in sculpture is evoked here. In turn, the Cumming is followed by Hanno Otten’s large colorblock photogram, mimicking the abstract design of the former.

An early Italian family portrait by Patrick Faigenbaum is a formal foil to Jim Dow’s wonderfully overfilled Coles’ Jubilee Shop.

On a literal level, Martin Parr’s Austrian Smiley Doughnut is a happy face, as is Neil Winokur’s Cosmo the dog.

Artists included in the exhibition: Fred Cray, Robert Cumming, Jim Dow, Patrick Faigenbaum, David Brandon Geeting, Jan Groover, Alfred Leslie, Hanno Otten, Martin Parr, John Pfahl, Robert Therrien, S.B. Walker, Neil Winokur.

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