The photo-collages in Vikky Alexander's first show at Wilding Cran Gallery, titled Theatergarden Bestiarium, are spare. In each, one or more cutout images of toy animals are overlaid onto a photo of a sumptuous historical site devoid of people.
Traditional African patterns ornament the ovalescent center while the figure is surrounded at top and bottom with the inherited African motifs of the nation he was born to -- but what is inside Mr. Mitchell is boundless without physical context to distinguish him from any other.
Todd Hido infuses inanimate objects with more humanity than he finds and reveals in the living women he photographs. What if he looked at a woman and considered that she might be nearly as interesting and complex as a broken chair?
It's hard not to give oneself over entirely to awe when regarding any of the great man-made wonders of the world. But there's always that moment when the docent or catalogue informs you of the horrific human cost of the endeavor
On the one hand, contemporary art history is about the expansion of the site of art from being between one artist and his audience to being about collaboration. On the other hand, ironically, it's about a narrow focus on individuals.