Goings On About Town

Sheree Hovsepian

The New Yorker


These photographic constructions, which may be too smart for their own good, depend, like lingerie, on a shadowy interplay of concealment and suggestion. In “Weight Shift,” several black-and-white photographs of a female torso pressed against a mirror have been partially rolled up and bound to a board with strips of brown nylon evocative of panty hose; the multiplication of bodies only underscores the fact that the figure’s head is cropped out. In the more straightforward “Floor Work,” an image of the same model partially obscures an ambiguous still-life, suggesting that Hovsepian’s interest isn’t in the human body per se, but rather in form for its own sake.

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