So how is it that after looking at them for a while, they seem precise and orderly, and that taken as a whole they reflect Rauschenberg's inimitable visual voice? How do you carefully plan an accident? I guess those are questions between Chris and his muse.
You can see the photographs in person at Elizabeth Leach Gallery in Portland through the end of January, and wonder how such big luminous prints came out of a tiny pocket camera.
Speaking of Portland shows, the highlight of the month is at Froelick Gallery. As part of a broader multimedia show called Interiors, Froelick has devoted a whole wall to various black and white photographs of interiors hung in patchwork salon style. Some of the photographs are by famous artists. Some are by locals. Some are anonymous. They're mixed all over the wall with no labels. The only way to tell which is by whom is to check the small cheatsheet diagram in the corner.
I love this effect. I think every gallery should do it. Screw labels, screw fame, screw prices, screw any supporting info that leads to pre-judgment. Just put the photos up and force folks to look at them with no supporting context, so that the only basis for any judgement is the photo itself. The image is king and reputation is meaningless, at least for this month. Love it. Thanks Froelick.