A play on anonimity and identity, (Un)masked showcases the work of three contemporary photographers.

In the tradition of American realism, Crackerfarm continues their subversive inquest into the aesthetic and historical valuation of past and present cultures. Traditional imagery is fused with the aggressiveness of a punk rock road movie. Forcing us to rethink the relationship between the past and the present, Crackerfarm invites us to make an alternative connection between the two. While their subjects range from friends and acquaintances, to bands and people they meet on the road, their photographic production is consistent in an innate classicism, transforming routine appearances into something exceptional.

In George Duncan’s work, we are witness to a dramatic moment of interaction between photographer and model. His subjects find themselves standing in a sublime space, implicit in the background. By giving priority to the soul, the artist’s subjects show an invigorating vulnerability that turns the work into a portrayal of emotion rather than character. While sensuousness is balanced with the formal, a crisp and clear perspective is turned upon the defining traits of his subjects, giving a frank sense of each individualís everyday physical presence.

Judy Linn’s photographs are typified by great richness and sensuousity of surface detail. In (Un)masked, Linn shows her first body of work, dating from the late sixties, early seventies. Documents of her friendship with Patti Smith, the majority of the pictures were taken after Smith and Robert Mapplethorpe, who had lived together in a variety of locations in New York City, moved from the Allerton Hotel to the Chelsea Hotel in 1971.

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