Trust Me – Moyra Davey at Murray Guy




“Trust Me brings together photographs that ambulate around the human figure, showing dust, dried skin, a medicine cabinet, hair caught in the bathtub, an empty gin bottle, and a single image of a reclining young body. (This set of images has) been folded and mailed; Trust Me has been sent to the writer Lynne Tillman, who has affixed the various images with text: “Most people will divulge more than you want to know. People often want to recite the tragic events that have deformed their lives, offering up their pasts as a series of tableaus of deceptions, or unspeakable insults. . . All stories are somehow survival stories, with bad or good fortunes.”



























From the exhibition Spleen. Indolence. Torpor. Ill-humour. – Moyra Davey
Murray Guy, New York
Date: March 29 – May 6, 2012

Moyra Davey (b. 1958 Toronto, Canada) has been working in New York since the late 1980s. She has been the subject of two recent solo retrospectives, Long Life Cool White at the Fogg Art Museum at Harvard University (2008), and Speaker Receiver at the Kunsthalle Basel (2010). Her work was featured in the 2011 New Photography exhibition at The Museum of Modern Art, New York as well as in numerous recent group exhibitions, including Atlas — How To Carry The World On One’s Back? at the Reina Sofia, Madrid; After the Gold Rush at the Metropolitan Museum of Art, New York; Sound & Vision at the Art Institute of Chicago (where her Copperhead Grid is currently on view); Mixed Use, Manhattan also at the Reina Sofia; and If You Lived Here You’d Be Home By Now at the CCS Bard Hessel Museum of Art, Annandale-on-Hudson, New York. Major essays on her work appear in the current issue of Afterall and the forthcoming May 2012 issue of Frieze. From April 11 — 15, Les Goddesses will screen daily at The Whitney Museum of American Art as part of the 2012 Whitney Biennial, where Davey also has two new groups of photographs on view. On Sunday, April 15 at 4pm, the Whitney will host a public conversation between Davey and Lynne Tillman.

via Contemporary Art Daily

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