Best show at Harbor yet, and a two-person show at that!
Henry Chung brings large wall pieces made of stripes of black paper with little
holes punched into them at varying intervals to form halftone versions of old
photographs. The effect is similar to a photocopy of a photocopy of a photocopy
of an old image, an aesthetic that usually appears as grainy evidence in spy
and terrorist documentaries or as the starting point for vintage political
posters, a la Shepard Fairey or Che T-shirts. But Chung has combined this aesthetic
geared toward the notorious to common family snapshots heightening their
importance and creating images that feel like memories of relatives whom you
know only from birthday cards or photographs of your grandparents when they
were unrecognizably young. Chung’s work is paired with Grimyser’s harsh but
minimal paper sculptures based on photocopies, which are sporadically aligned
on and at times literally flying off the wall. The pieces combine a visual
nihilism of gray and black xeroxes with the whimsy and complexity of an image
of white mist (?) against a black background and pictures of billowing smoke
stacks.
Already down
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