[Sherrie Levine and August Sander, Installation Shot, Paul Cooper Gallery | Source]
First I see a grid on the wall made of 21 framed vintage black and white photographs. Possibly portraits of Jewish men and women in a pre-world war environment. Their expressions aren't quite candid, nor are they theatrical. Some of them are standing oddly still as if they are waiting for the shudder of the camera to close. But the quality and clarity of the image suggests that the technology used here is advanced beyond standing for a photograph being necessary. His subjects seem uncomfortably in front of the camera. The only idea seeming to tie these works together is that they each are somehow associated with the photographer.
After looking at the photos on the grid, one has to venture to the other side of the gallery where another body of work is on display. It is assumed from a distance that the works on display are also photographs.
There is an obvious intentional divide between the first body of work and the second. Once you see the second body up-close, you quickly realize the photos are the same as those in the former group. Only difference is that they are arranged on the wall linearly instead of a grid. What does this say about the viewing experience? Does liner versus grid challenge, change, hinder, or enhance the viewing experience of a photo body of work?
Thus is this a photo exhibit or an installation with commentary on struuctured viewing relationships between object and viewer?
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