He is doing a photo performance, however, in the cubbyhole. "Mostly what I'm doing is producing stereo cards to show how they're made," he says, explaining that he bought a Realist stereo camera recently. What the camera does is simultaneously take two photos of the same object at slightly different angles. When the two are seen together using a stereopticon, the object has a 3D look to it. "I've become a tourist in my own home town since I got the stereo camera," notes Davenport, who has been photographing fountains and landmarks. "I've fallen in love with Denver because of this camera."
The show has its own charm, especially the cozy display design, and Davenport's photos perfectly match this old-fashioned context. In addition to the installation and performance, there are also a few portraits, including a compelling one of the late Dale Chisman. And there's a smattering of classic juxtaposition photos, in which Davenport prints a diptych as a single image, like the two shots of a James Brown novelty figurine. These double images are conceptually related to Davenport's interest in stereo photography, but they're different in reality, as they are not meant to be seen as a singular shot.
"Self-Portrait," by Laura Merage, silver print.
"Baptism for the Abandoned Child." by Susan Goldstein, pigment print.
Through October 17, Mizel Arts & Culture Center, 320 South Dahlia Street, 303-316-6330, www.maccjcc.org.Through October 3, Edge Gallery, 3658 Navajo Street, 303-477-7173, http://edgeart.org.
In addition to Davenport's own work, he's included some of his collection of stereo cards, displayed on a stand in the show. Also, there's a very striking classic nude study by historic Denver photographer Otto Roach that Davenport has placed next to a double-figure study of a nude and a clothed woman that he's done in response to it.
Rarely does a co-op present two shows that have the kind of harmonic convergence that the Goldstein and Davenport outings do.