Group reveals at PRC and Griffin mix high quality and amount

The 2 most placing units of images on the PRC play with the phantasm of depth. Within the case of Navidreza Haghighimood, it’s one image specifically: “A man who loved the ocean, a man who feared the ocean” (the title’s fairly placing, too). The blurry picture of a person within the sea is seen by obscuring droplets on the lens. The droplets, moreover properly alluding to the ocean, lend a dimensionality to the flat floor. With Jessica Burko’s three pictures the depth is actual and derives from how she frames them. Every rests within the backside of a drawer. This presentational system is all of the extra arresting for being so easy. {A photograph}, for higher and worse, flattens the world. Burko makes a gesture towards unflattening.

Two photographers have work in each reveals: Kristen Pleasure Emack, black-and-white photos of actual sweetness, displaying African-American women; and Astrid Reischwitz, who achieves placing textural variations by superimposing a chunk of embroidery on a picture, after which photographing the outcome. Russ Rowland is simply within the Griffin present. However the droplet presence in his “Water Portrait — Caroline” makes it kin to Haghighimood’s “A man. . . .”

The work within the Griffin present is of such constant high quality that it’s a disgrace to not write about all of the photographers, and all of the extra so as a result of the work is so various. How various? With its uninflected power, the piled-up stones of Kathleen Taylor’s “Broken Road 1” may very well be a New Topographics descendant. Which may hardly be extra completely different from the delicacy of Yelena Zhavoronkova’s plant examine “Grana.” Each are in black and white, which makes the distinction all of the larger with the practically color-field chromatic punch of James Collins’s “Damselfly.” The title of Jay Boersma’s “The One That Got Away,” with its serial photos of fish hooks, every bearing {a photograph} of a fish, makes it as amusing verbally as it’s visually, and visually this can be very amusing.

The Boersma hangs close to a number of different such meta pictures, one among a number of cases of properly imaginative hanging. There are groupings of water-related pictures, vegetation-related pictures, and, better of all maybe, astronomy-related pictures. It’s the imaginative method that astronomy is construed that’s most memorable. Scott Nobles’s “Unboxed/Mars Rover” reveals two boys in astronaut gear “exploring” a man-made “Martian” panorama. The deadpan weirdness is out of this world.

Kay Kenny takes a much less unconventional view of astronomy. She has spent over a decade taking long-exposure pictures of the evening in southern New Hampshire and the Southwest. The dozen photos in “Into the Night in the Middle of Nowhere” are in colour and enormous, starting from 22 inches by 28 inches to 30 inches by 40 inches. The images are stunning and infrequently spooky. Nighttime is the appropriate time, particularly when there’s a saguaro cactus concerned.

Eleonora Ronconi took the 22 pictures in “Serás mis ojos” (“You will be my eyes”) in her household house in Buenos Aires. Reminiscence meets domesticity: a rotary phone, outdated photographs, a pair of eyeglasses. The colours are wealthy and good-looking. A quiet-patterned wallpaper covers the gallery partitions on which the images grasp. It’s, sure, a suitably homey contact.

The suspending medium for Ronconi’s photos is reminiscence: a medium all of the extra palpable for not being tactile. In Jennifer McClure’s “Excerpts From ‘Laws of Silence,’ ” the suspending medium, being aqueous, is each tactile and buoyant. We see an indoor pool; a life preserver floating on the floor of one other pool; a diver, photographed underwater, wreathed in bubbles. “A pool is water made available and useful,” Joan Didion has written, “and is, as such, infinitely soothing.” The sense McClure conveys is extra one among disquiet. Name it rapture of the not so deep.


At Photographic Useful resource Heart, VanDernoot Gallery, College Corridor, Lesley College, 1815 Massachusetts Ave., Cambridge. Via Aug. 11. 617-975-0600.


KAY KENNY: Into the Evening within the Center of Nowhere

ELEONORA RONCONI: Serás mis ojos

JENNIFER McCLURE: Excerpts From ‘Laws of Silence’

At Griffin Museum of Pictures, 67 Shore Street, Winchester, by Sept. 1. 781-729-1158,

Mark Feeney might be reached at [email protected].

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