The Walker Evans is as the exhibition title says. The candid NYC subway shots at the entrance from the 1930s and 40s are, of course, intriguing (and it's quite lovely to read Evans' sincere effort to sum up his belief that a photograph can capture something unguarded in its subject akin to the undisguised self or indeed - although he acknowledges the imperfection of the term - the soul), while the "Color accidents" shots of painted doors and surrounds mostly from East 85th St, 1958 with their call-outs to Klee and others, and the iconically simple front-on shots of everyday steel tools were marvellous.
While "The documentary take" is a set of contemporary works collated to bring out the relationship between documentary photography and contemporary art, with some direct commentary on/from Evans' work. I must say that the only one that really interested me was Patrick Pound's "drive by (en passant)" (2009 ongoing), which is simply found photos of people in cars - movies, celebrities, private, going back decades and through to today.
While "The documentary take" is a set of contemporary works collated to bring out the relationship between documentary photography and contemporary art, with some direct commentary on/from Evans' work. I must say that the only one that really interested me was Patrick Pound's "drive by (en passant)" (2009 ongoing), which is simply found photos of people in cars - movies, celebrities, private, going back decades and through to today.
