We know that human beings people these places, but they have
scurried away, leaving behind nothing but desks, machines,
instruments, walls, ceilings, floors, lighting the impersonal,
neutral artifacts of modern existence. An air of claustrophobia
hangs over everything: there is no way in and no way out of these
stifling spaces, either physically or ideologically. We need a good
deal of persuading that these extraordinary environments actually
exist in the real world. But they do. And for thirty years the
photographer Lynne Cohen has been searching them out and recording
them. No Man's Land brings together for the first time more than
100 of the most powerful of these images in both duotone and color
from the 1970s up to the present day. Cohen began as a sculptor,
but in 1971 turned to photography. Her work has certain affinities
with Marcel Duchamp's ready-mades in that she collects fragments of
the real world photographically and turns them into found
installations. Her photography should be appreciated alongside the
work of her peers in the area of contemporary art and photography,
such as Dieter Appelt, Andreas Gursky, Thomas Ruff, Cindy Sherman,
Thomas Struth, and Jeff Wall. Cohen's photography has always been
concerned with psychological, sociological, intellectual, and
political artifice and her later images reveal a preoccupation with
deception, manipulation, and control. No Man's Land includes a
critique of Cohen's work by Ann Thomas, Curator of the Photographs
Collection at the National Gallery of Canada; an interview with the
photographer; and a preface by Pierre Theberge and by William A.
Ewing, author of The Body and many other internationally renowned
photography books.
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