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TO APRIL 30
Barbara Probst’s still photography suggests the ubiquitous quick cuts of action films and TV commercials, bolstered by a veneer of conceptual art. Probst, who’s based in New York City and Munich, poses her subjects with several cameras facing them, using a mix of color and black-and-white film, with each lens at a different angle. She then trips the cameras’ shutters simultaneously, creating unified works of two to four individually mounted images. At its most trivial, Probst’s process produces works such as the fashion-shoot triptych Exposure #32: NYC, 249 W 34th Street, 01.02.05, 5:04 pm, which suggests a mock-pretentious scene from an Austin Powers movie. Another, more compelling fashion shoot is one from 2000 in which a model poses on a New York City rooftop. The four images, arranged in a 2-foot-by-2-foot matrix, begin with an extreme close-up of the model and then steadily spiral farther away; the effect is akin to viewing one of Duane Michals’ celebrated photographic narrative series, but with a divergent, Rashomon-like perspective. There’s little doubt, however, that the finest work in this seven-work exhibition is Exposure #30: NYC, 249 West 34th Street, 11.20.02, 2:27 pm. In it, a woman is caught seemingly unaware in what appears to be four different settings: in a park, near a skyscraper, next to an enormous eye, and, shown from above, standing on a floor covered by big lettering. It’s clearly the same woman at the same moment, leaving the viewer guessing how Probst managed to collapse space and time. The show is on view Tuesdays through Saturdays, from 11 a.m. to 6 p.m. to Saturday, April 30, at G Fine Art, 1515 14th St. NW. Free. (202) 462-1601. (Louis Jacobson)