From Vince Aletti’s review for The New Yorker:

In the eighties, Burson collaborated on a computer program that used morphing technology to create uncanny composite photographs. As frontal as mug shots, the pictures are relics of the age before Photoshop, but their ghostly, out-of-focus layering remains oddly unsettling. If Burson couldn’t resist a few obvious gimmicks (pictures that imagine the common ground between a lion and a lamb, or a dog and a cat) her human composites remain fascinating. She blends races and sexes, as if forecasting the advent of new norms, but a merger of ten white male executives from Goldman Sachs offers a counterpoint by predicting more of the same. Through March 29.

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