- Architecture of Density (1, 48x58, edition of 9+2, 2006)
- Night (1, 48x60, edition of 9+2, 2008)
- Transparent City (5, 48x60 or 48x64 or reverse, in editions of 9+2, 2008)
- Transparent City Detail (2, 50x40 and 34x27, in editions of 9+2, 2008)
- Paris Street View (4, various sizes from 27x34 to 60x48 or reverse, in editions of 3+1, 5+2 or 9+2, 2009)
- Manhattan Street View (2, 40x50 or 48x60, in editions of 5+2 or 9+2 respectively, 2009/2010)
- A Series of Unfortunate Events (5, various sizes from 27x35 to 48x60 or reverse, in editions of 3+1, 5+2, or 9+2, 2010)
- Tokyo Compression (11, 42x34 or 10x8, in editions of 5+2, 2010)
My favorite images in this exhibit were from the new Tokyo Compression series, where Wolf has photographed commuters pressed up against subway windows. Faces are smashed against doors, creating fogs of condensation; fingers claw as though trying to break free; people close their eyes or adopt masks of indifference and weary disgust to compensate for the crush of humanity. These images make the breakdown of personal space and the invasion of privacy much more explicit than in the context-free Street View scenes. Here the voyeurism is harsh and physical, and the people protect themselves from the onslaught by closing up.
Taken together, the show sees our world from a variety of distances, forcing the viewer to move back and forth, from close-up to broad scale and back again, always voraciously looking and being watched. I think Wolf's work asks us to consider more fully whether we have entered a 21st century version of Jeremy Bentham's panopticon, where the knowledge of being under surveillance has started to influence our behavior. In many ways, these new images are evidence of exactly this outcome, and it is this unnerving line of thinking that makes this show worth seeing.
- Artist site (here)
- Reviews: New Yorker (here), New York (here)
- Interview: The Morning News (here)
- Aperture show, 2009/2010 (DLK COLLECTION review here)