THE NEW YORK TIMES
By Roberta Smith
The 10 reverberant color photographs in
D’Angelo Lovell Williams’s show at
Higher Pictures form one of the year’s best gallery debuts. Seemingly uncomplicated and improvisational, the works set off startling strings of associations and meaning, tearing through references to race, gender, eroticism, art, fashion, culture and history like crashing dominoes. Yet silence reigns: All is encompassed and centered by the presence of the artist, who is usually shown leveling a steady, slightly quizzical gaze at the camera, and the certainty with which he wields his black, male body as shape-shifting subject and material. This happens with special power in “
Structural Dishonesty,” a title that resonates with the phrase institutional racism. [
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| D’Angelo Lovell Williams’s “Structural Dishonesty,” on view at Higher Pictures. |
