Group Show
‘Multi Panel’
Pace/MacGill, New York
27.03.2014 - 29.05.2014
New York, March 20, 2014 — Pace/MacGill Gallery is pleased to present Multi Panel, an exhibition on view March 27 through May 29, 2014. Featuring works by Vito Acconci, Richard Benson, Harry Callahan, William Christenberry, Chuck Close, Robert Cumming, Robert Frank, Emmet Gowin, Paul Graham, Robert Heinecken, Peter Hujar, Michal Rovner, Lucas Samaras, Kiki Smith, Hiroshi Sugimoto,
JoAnn Verburg, Andy Warhol and William Wegman, the show
explores the myriad ways artists have embraced and employed multi-part, serial, and sequential imagery throughout 20th- and 21st-century photography. A public opening will be held on Thursday, March 27 from 5:30 to 7:30 p.m.
© William Christenberry, Red Building in Forest, Hale County, Alabama, 1974-2004
© Kiki Smith, Eve in the Pomegrantes, 2001
The practice of pictorial storytelling pervades the history of art. From the earliest cave paintings, to Egyptian hieroglyphic friezes, Greek vases, and polyptychs above altars in churches and cathedrals, narratives have been continuously constructed through the juxtaposition and combination of images. When translated to photography – a medium of multiples by nature – this tradition takes on new and unexpected forms.
© William Wegman, Man ray on Stilts, 1975
© Peter Hujar, Nude Self-Portrait Series #1A, #3, #2, #4, 1966
Simple in subject but structurally inventive, Paul Graham’s New Orleans, 2004 from the series a shimmer of possibility is a visual vignette of a moment in everyday life. Choosing not to confine the narrative to a single frame, Graham depicts a scene of a woman eating takeout from multiple points of view to create what he aptly
refers to as a “filmic haiku.”
© Robert Heinecken, Figure/Flower, 1968
Contrary to this approach, Harry Callahan presents three images taken from the exact same position in Highland Park, Michigan, 1941. Without a clear order or linear progression, the pictures explore the concepts of time and change in their slight variations, rather than attempting to tell a story. The notion of narrative is also deconstructed in Eve in the Pomegranates, 2001, as Kiki Smith calls upon viewers to assimilate composite imagery to reveal the work’s mythic allusion.
Read more from HERE
© Pace/MacGill Gallery