The Keeping Time review ran last Friday in the Boston Globe and it was a good one! Yippee!

Click here or above to read it.

The perspicacious Mark Feeney has some incredible insights as always. Here are some of my favorite Feeney phrases (the last Morris Louis one is truly super):

Among the virtues of “Keeping Time: Cycle and Duration in Contemporary Photography,” which runs at the Photographic Resource Center at Boston University through Jan. 25, is the reminder it brings that time is not just the ocean photography splashes in but also the spray that it raises.

All photographs are, so to speak, sun-singed. …Think of the process as a visual equivalent of distressing a surface. Where a photograph captures an instant in time, McCaw’s techniques indicate time’s ongoing effects on that instant.

As the sun casts shadows from wine bottles, drinking glasses, and the like, Cummins traces the outlines of those shadows in colored inks. Meal concluded, she photographs the chromatic accumulation. Visually, it’s like having Morris Louis as your waiter.

Pulitzer-prize winning Boston Globe critic Mark Feeney paid us a visit last week.  This Monday, his review of the PRC Portfolio exhibition ran, and it’s a super one!  Thanks so much Mark, we are glad you enjoyed it!

You can preview the portfolio in the PRC gallery through this Sunday, September 14th, or in the online site for this collecting opportunity.  We have been contemplating showing the portfolio in other venues and sharing it with more people, and I think Mark seconds that emotion.  Here are a couple of good quotes below, but you can read the rest by clicking here.

Which means one of the year’s best shows has what must be the year’s shortest run….

The nicest bit of hanging in the exhibition plays off of color. Ralph Gibson’s “Bahia” shows a window through which we glimpse a rectangular slice of impossibly blue tropical sky. It’s so elemental it could be a Barnett Newman abstraction. Across the room, at an angle (like the window), is McPhee’s “Irrigator’s Tarp Directing Water, Fourth of July Creek Ranch, Custer County, Idaho.” Phenomenally gray and threatening clouds dominate the image, but what jumps out is the tarpaulin. It’s a darker but no less vivid blue than Gibson’s Brazilian sky. Samba meets C&W in a duet of blueness.

Sussex, Brazil, Idaho (Carlisle, too): many roads lead to the PRC’s space on Comm. Ave., at least photographically. There’s an easy balance between elsewhere and here. Lalla Essaydi goes to North Africa for “Les Femmes du Maroc #45″ and Dow ventures below the Rio Grande for “All Night Taco Stand, Av. Gustavo Baz Prada, El Country, Naucalpan, Estado de Mexico” (its lighting conjures up a south-of-the-border version of Edward Hopper’s “Nighthawks”). Conversely, Sohier, the one photographer with a picture in both portfolios, offers “British Redcoat re-enactor, Battle of Concord and Lexington, Lexington, MA.” It amusingly - and disorientingly - joins past to present. An alternate title could have been “Musket Meets Subdivision.”

READ MORE HERE