Andrea Robbins and Max Brecher drawn on a rich visual vocabulary gleaned as much from travel brochures, postcards, and National Geographic as from the photography of Walker Evans, Edward Curtis, and Stephen Shore. In doing so, Robbins and Becher produce work that functions as surreal nonfiction, using documentary images to examine contradictions of place and cultural identity." "The work posits vital questions for a globalized world: What are the larger implications of "ideological
passing," when one culture assumes the skin of another? And what role can photography play as a document in a context where cultural signification is entirely fluid? Curator and author Maurice Berger examines the work of Robbins and Becher within the context of race and colonialism as well as Surrealism; critic Lucy R. Lippard looks specifically at ideas of the manipulation and simulation of place and identity in the duo's work.
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