After VanderBeek’s well-received appearance in MOMA’s new photography exhibition, I almost took for granted that my lack of enthusiasm for her photographs of Rauschenberg-like sculptural collages was my failure to understand the conceptual framework that surely illuminated the work. But I never did get around to figuring out what the deal was. That is, until her recent solo show at the Whitney, when I dutifully took it upon myself to read the accompanying text.
Well, it turns out that the pictures of flecks of worn color on scuffed light gray surfaces are about time. Yup, they are closeups of the walls from her childhood home and the foundations of homes left behind after Katrina. And, you see, due to the passage of time, they have changed and no longer look like they originally did. Oh, and they are mixed in with pictures of sculptures with a similar color palate.
Through Dec. 5th
The Whitney Museum of Art (945 Madison Ave. Btw. 74th & 75th Sts.)
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