Jayne H. Baum Gallery, NYC; Uni­ver­si­ty of Cal­i­for­nia San Fran­cis­co; Drury Col­lege; Bard College

Goldring expands upon the trig­ger­ing of Prous­t­ian mem­o­ry through sen­so­ry expe­ri­ence, trans­form­ing it from a per­son­al mem­o­ry into a meta-his­tor­i­cal struc­ture; for in simul­ta­ne­ous­ly going back into his­to­ry and sub­merg­ing her­self in the signs of the col­lec­tive con­scious and uncon­scious, Goldring is able to trans­late the cryp­tic mes­sages left behind by past incar­na­tions of the Spir­it thought by many to be rever­ies of imag­i­na­tion.” — Ger­ard Roger Den­son, Poet­ic Injury

 ‘Now we see through a glass dark­ly,’ the apos­tle Paul wrote in his first let­ter to the Corinthi­ans, ‘but then face to face.’ Artist Nan­cy Goldring has looked into that dark glass, seen with­in her­self and set those reflec­tions down for the world to share.” — Camille Howell

Trans­par­ent, frag­ile, on the edge of imma­te­ri­al­i­ty, they speak to the elu­sive, mutat­ing func­tion of an aide mem­oire in which pho­tog­ra­phy can no longer be enlist­ed. Con­nec­tions are lost in del­i­cate lay­er­ings, pho­tog­ra­phy becomes a perte de vue…a dis­place­ment of one kind of mem­o­ry so as to make a space for oth­ers.” — Julia Ballerini

More reviews:

St.Louis Post Dis­patch, Spring­field News Leader, Pho­to-Design, and Ros­alind Krauss, Roger Den­son, cat, essay for Alter­na­tive Museum
Cat. :“Sequence (Con) Sequence: (Sub) Ver­sions of Pho­tog­ra­phy in the 80s,” Julia Bal­leri­ni (MIT)

Ellis Island


The Traveller Remembers