5 August 2015 09:56AM
As the technology of photography has changed in the digital age, allowing ever greater film speed, resolution, control, and the almost limitless possibilities of Photoshop to perfect images, subject matter has become increasingly fetishistic, a veritable paradise for voyeurs. It is refreshing then, to see James Autery hark back, in his engaging show at the Hudson Opera House, to a classical approach that so effectively captures the raw beauty of moments and scenes in the tightly-framed, loosely-focused manner employed by the mid-century masters. Like a modern day Kertesz, Autery’s idiosyncratic compositional approach, in high contrast black-and-white, finds expression in a wide variety of unlikely subjects, none of which are instantly easy to read, and so draw the eye in to investigate the mystery of their provenance without any hint of titillation. Sadly, the show comes down today, so if you happen to be on Warren Street drop in for a final treat.
Installation photo by Enid Futterman