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Body of Evidence

February 6 – April 4, 2020

Clarence John Laughlin The Masks Grow To Us, 1947
Bruce Wrighton Parking Attendant, Binghamton, NY, 1987
Weegee The Critic, 1943
Harry Callahan Chicago (Eleanor), c. 1955
Fred Herzog Family, 1967
Yasumasa Morimura Self Portrait (B+W) / Dietrich (mannish), 1995
Taryn Simon William Gregory at Wick's Parlor in Louisvulle, KY with his fiance Vicki Kidwell, whom he dated prior to convicition. Gregory was a pool champion in prison. He served seven years of a 70 year sentence, 2002
Kiki Smith My Secret Business, 1992-93
Merry Alpern Dirty Windows 17, 1994
Merry Alpern Dirty Windows 24, 1994
Merry Alpern Dirty Windows 7, 1994 gelatin silver print
Merry Alpern Dirty Windows 7, 1994
Kazuo Sumida Show Time, 1984-1990 gelatin silver print
Kazuo Sumida The Most Popular Girl at the Gay Bar, 1984-1990
Abelardo Morell Book: Naked Maja, 1994
Helen Levitt NYC, 1980 dye transfer print
Denis Darzacq Lila Derridj, Paris, France, 2009
Denis Darzacq Charline Barboutie et Vincent Languille, Brest, Finistère, France, 2010
Peter Moore Robert Rauschneberg, Pelican, May 25, 1965
Peter Mooore Yayoi Kusama, Peep show, New york, March 29, 1966 vintage gelatin silver print
Peter Moore Charlotte Moorman and Nam Jun Paik, 1965
Peter Moore Cellist Charlotte Moorman & Composer Nam Jun Paik, rehearsing his mixed media opera, 1968 vintage gelatin silver print
Sophie Calle Les Tombes, Mother, 1990 Les Tombes, Father, 1990
Darrel Ellis Great Uncle, 1976
Darrel Ellis Unitled ink and charcoal on paper
Martha Holmes, Claes Oldenburg, Snapshots form the City, 1960 vintage gelatin silver print
Cindy Sherman Unititled, 2002
Clarence John Laughlin The Egocentrics, 1940
Luis Gonzaleza Icarus, 1992
Fatemeh Baigmoradi Untitled, from the Series It's Hard to Kill, 2017

Press Release

Laurence Miller Gallery is pleased to present BODY OF EVIDENCE, featuring over thirty photographs and works on paper largely drawn from a single Midwest collection.  The exhibition explores a wide variety of interpretations and representations of the human body, from procreation to incarceration; from the factual to the fantastic; from humorous to tragic. The pictures, by more than twenty artists, fit into four major themes:  Family, Evidence, Individuality, and Performance.  Collectively, these diverse representations of the body powerfully intersect with contemporary politics, ethics, and cultural priorities.

Within the idea of family are Cindy Sherman’s self-portrait as a pregnant young woman, originally produced for a Planned Parenthood auction; Sophie Calle’s pair of gravestones, marked MOTHER and FATHER;  Diane Arbus’ Jewish Giant, towering over his parents in their modest Bronx apartment; Darrel Ellis’ elusive manipulated portraits of his mother and father; Julie Mack’s portrait of her mother and two brothers on the living room sofa, the father curiously absent.

Merry Alpern’s voyeuristic views, captured through a distant window, reveal drug use and sex acts that  could be offered as criminal evidence. In stark contrast is Taryn Simon’s Innocents Project, featuring William Gregory, wrongly convicted of murder and imprisoned for seven years for a crime he did not commit. 

Perhaps it is our eyes that convey the most about our individual identity. Witness Bruce Wrighton’s life-size portrait of a glaring parking lot attendant; Clarence John Laughlin’s surreal portrait of a woman’s face merged into a mask; a very early pre-Film Stills Cindy Sherman self-portrait; and Kazuo Sumida’s close-up of a white-skinned Japanese gender-fluid cabaret entertainer.

Performance is a broad category, incorporating a Weegee snap shot of two Society women on their way to an opening at the Metropolitan Opera, confronted by a disheveled drunken woman hired by Weegee to provoke them; a group of Peter Moore documents of performances, including Robert Rauschenberg’s Pelican, in which a man on roller skates attempts to skate around a rink while bearing an open parachute on his back; and two portraits by Denis Darzacq from his series ACT (shorthand for action, actor and activist), in which he collaborated with young adults with bodies challenged by conditions such as Down's Syndrome or cerebral palsy, to enable them to express their own joy and exuberance for life.