Flip through Weegee’s photos to see the city’s violent underbelly, or Berenice Abbott’s for razor-sharp views of the city’s canyons. Look to Michael Wesely for ghostlike, long-term exposures. When I look at Bill Travis’s work, I see something different and the closest parallels I can find are with photographs over a hundred years old.

Amber Scoon's Cortelyou Project, a series of paintings of what the 2000 census found to be America's most integrated neighborhod.

New Partisan, along with affiliate and contributor, Miranda Fine Art present Nick Savard’s solo gallery show, PEGGED, opening tomorrow in London. Savard is a New York based artist who incorporates photography, drawing and sculpture into his work. His most recent installation is an intricate setup featuring wooden viewing cones, a system of pulleys and drawings. If you’re in London, be sure to check it out. Details of the show, some examples and a brief essay on Savard’s work follow.

April 7 - 13 May 2006
The Glasshouse Gallery
2-3 Bull's Head Passage, Leadenhall
Market, London, EC1

The artist’s childhood, with its tiny apartments and the lurking shadow of political oppression, demanded a closeness with others that was at once comforting and stifling. The memory of these situations and emotions is reflected in the density of Baras’ painted surfaces. Layers of pattern in the paintings, evoking old lace and textiles, often placed on a glowingly textured background, create airless and closed miniature worlds.

This series, interconnected and interrelated, proceeds in no specific order. Nor is there a "right side" to any one panel. Thus two panels together would have 16 possibilities, three 64, and on to infinite possible combinations. Is this what complexity and chaos are about?

In this particular series dice were rolled to determine both the orientation and the order of the panels.