Exhibition Review: D'Angelo Lovell Williams

'The Lovers' 2017

D'Angelo Lovell Williams

July 6th - September 2nd

All images © D'Angelo Lovell Williams

Courtesy of Higher Pictures Gallery

Review by Isabella Weiss

D’Angelo Lovell Williams’ first solo exhibition at Higher Pictures Gallery is coming to a close on September 2nd. The conclusory consensus on this exhibition is that it was truly successful: many critics agree that Williams has reinvigorated nude photography, a field previously considered to have stagnated in its conceptual capacity. Williams has done this by ridding the self-portrait of both stereotypes and egotism. He poses sensually and yet the images are without a sense of vanity. He is seductive without ascribing to euro-centrist or heterosexual conventions of beauty. Rather than representing himself and his own desire, Williams’ portraits represent the desires and aesthetics of an entire marginalized subculture. With minimal props, contextual framing, and gesture, Williams is able to embody a range of queer personas other than his own. Williams has stated that “as an artist, I think that vulnerability is something we need to see more of.” While the artist’s postures in this series are indeed vulnerable, their effect is bold and empowering. Aside from their social-political success, these images are aesthetically successful as well. Their framing, coloration, and compositions are beautiful, thoughtful, and complex. It is certain that we can expect more stirring and pertinent work from this emerging artist in the years to come.

'Untitled (Portrait)' 2016

'Fleurish' 

'Face Down, Ass Up' 2017

'Know Your Holes'

'Structural Dishonesty'

'Seeded' 

'Omniscience'