For her latest photos, Quinlan turns to black-and-white silver prints (some of them rephotographed versions of images taken years ago), with subjects, including portraits, that are atypical of her work. More typical is her emphasis on the meta, manifested here by the evident degradation of the film negatives, which in some instances were scored with steel wool or permitted to shed emulsion during the developing process. Ghostly and expressionistic, this series represents a departure from Quinlan's usually cerebral formalism.
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