Comments/Context: One of the unforeseen consequences of a proliferation of art on the Internet is that we have inadvertently (and permanently) diluted the meaning of the word "curator". We're all choosers, selectors, organizers, editors and like-ers now, whether we are celebrities, gallery owners, scholars/academics, collectors, or idle watchers. At one level, this is mighty freeing and empowering, breaking down old restrictive barriers and letting in some much needed fresh air. But at another, we seem to be losing sight of the nuances of old school curating craftsmanship and excellence that go miles beyond just gathering a bunch of pictures under a clever theme for a group show.
What I like best about this installation is that there is some curatorial risk taking going on here. Hendeles didn't just give us a static ring of Evans Polaroids, but an immersive environment that draws from those Polaroids, one that offers additional less obvious pathways to explore; there are multiple "ways in" to this exhibit, leading to different contextual conclusions. I also appreciate the clear move to take photography out of its own separate artistic silo and to mix it together with other decorative arts that can provide alternate resonances. Her setting provides a richer experience of Evans' late work, offering us ways to look and see that are beyond the simple or straightforward.
The Wedding (The Walker Evans Polaroid Project)
Andrea Rosen Gallery
525 West 24th Street
New York, NY 10011