Liza Ryan’s vision is a peripheral one. That is, what she seeks to convey in her photographs is imagery seen glancingly, distractedly — not looked at, but seen in the process of doing or thinking about something else. This gives a tremendously resonant poignancy to these otherwise attractive but mysteriously incidental photos. By working this way, Ryan inverts the common notion of the camera as an extension of the eye. Now it becomes an extension of the mind — not necessarily Ryan’s mind, but the mind of an imaginary eyewitness whom Ryan has invented almost like a character in a novel. Greg Colson assumes a similar balance between objective and subjective viewpoint in his stylized diagrams of sports stadiums, rendering these plans neither as guide maps nor architectural elevations but as fanciful elaborations. They seem done almost from memory, produced in an almost mechanical manner, as if they were the notations of a sports fan so fanatical that he fixates on sports places as opposed to... More >>>