2011

Photo District News, "What Collectors Want", July 2011

Frontier Psychology, May 20, 2011

500 Photographers, April 14, 2011

The New York Photo Review, April 12, 2011

A Photo Student, April 5, 2011

New Yorker, by Vince Aletti, April 4, 2011:

"Levy's photographs of men have always been oddly fraught. In a new series of mostly small black-and-white images, her naked subjects twist, strain, and collapse in front of the camaera in attitudes that suggest both agony and ecstasy, torture and sex. Inspired in part by vintage medical and forensic photographs, the pictures also zero in on details familiar from exposes on mental hosiptals: contorted limbs, silent screams, drool. Levy is exploring female power and male vulnerability here, but her work doesn't feel cruel or sensational. Instead it's tender and genuinely moving."

CLICK Blog it, March 22, 2011

LPV Magazine, March 10, 2011

Rebecca Horn Photography, March 3, 2011:

"In general I really don't like nudes, but what Carrie is doing is different. There is an undercurrent in the work that keeps me coming back, and looking closer. The new work is no exception. What I see here is a mish-mash of intense intimacy, fear, penetration, drowning, trust.."

PDN Photo of the Day, February 17, 2011

MOSSLESS, February 15, 2011

1000 Words Photography, February 14, 2011:

"Both beautiful and poetic, it is also disquieting and dark. It's serious stuff, in the sense that it addresses some of the underlying tensions of photography - namely the politics of representation - not in an obvious way, but by various subtle and beguiling means."

ARTMOSTFIERCE, February 8, 2011

FLAK photo, February 8, 2011

Self Publish, Be Happy, February 2011

Flanders Gallery, by Lauren Turner, January 2011:

"In the works of artists like Carrie Levy and Kristine Potter, one finds carnal impulses as the primary vehicle for psychological escape. Carrie Levy's nudes suggest all of the vulnerability that a body shed of its socially-required clothing can imply."

Culturehall.com, January 2011

2010

Aflameinyourheart.blogspot.com, December 2010

Visura Magazine, Issue 11, 2010

The Scholar & Feminist Online, Barnard Center for Research on Women, Spring 2010

FotoFreo, March 2010

Foto8, February 2010

Metaphor Online, March 2010

2008

Photograph, by Barbara Pollack, September/October 2008:

[Allen Thomas, Jr.] commissioned Carrie Levy to enlarge one of her photographs of a nude male facing the wall to the larger-than-life size of eight feet by four feet. “It just undid me, truly,” he says.

Manchester Photography, July 2008

New Yorker, by Vince Aletti, June 2008:

Carrie Levy’s tightly cropped pictures of naked men, most faces away from her camera, are charged with a fine tension that’s more neurotic than erotic.

Dear Dave, by Stephen Frailey, 2008:

“Impaired” is the title of works by Carrie Levy in which the nude figures are haunted, vulnerable, somewhat ashamed, naked. Chosen here are the Polariods from that series, as their porous surfaces receive fingerprints, swipes and scratches, their forensic and emotional immediacy is amplified.

Corduroy, Art Essay—Impaired, Volume 3, 2008

2007

Barton College News, November 2007

Wilson Times, November 8, 2007

Dexigner.com, June 19, 2007

Artinfo, April 12, 2007

British Art Council, 2007

2006

Photograph, “In Profile” by Sarah Schmerler, 20 May/June 2006, p. 20

Metapsychology Online, May 2006

Artnet.com, April 4, 2006

In Focus, “Emotionless Body Gesture,” Monthly Photo, Korea, February 2006, vol 457, pp.50–61

Foto, by Lena Kunst, February 2006

Nerve.com, January 31, 2006

Conscientious, January 1, 2006

2005

Sunday Hour, ”Great Viewing This Weekend in Stamford and Westport,” November 6, 2005

Westport Minuteman, “Photography Show opens at WAC,” November 3, 2005

Westport News, “All-Photo Show at Westport Arts Center,” November 2, 2005

Look Magazine, “People I Like,” Issue 5, 2005

Modern Painters, October 2005

Art Review, vol LVII, October 2005:

On Carrie Levy’s sixteen birthday her father was sentenced to four years in prison. Lost in a new world of furtive whispers at school and emptiness at home she immersed herself in photography. Desolate New York suburban landscapes, a bare bed, her unkempt garden, all echo her loss documented in 51 Months, a visual diary of her father’s absence. Her father, now out of prison, continues to fuel her work: in her new series recognizing the restrictions involved in documenting her surroundings, Levy, now studying at London’s RCA, creates conceptual photographs loosely based on stories of her father’s time in prison: “the only distinguishable person in this work is my father.”

French Vogue, Agenda, September 2005

Source, “Carrie Levy, Impaired,” by John Duncan, Issue 44, Autumn 2005, pp.25–29

HX magazine, Art Queens Alert, July 29, 2005

The Portland Phoenix, July 29–August 4, 2005

Photo District News, July 2005:

Though plunging into an adolescent’s journal sounds like a cringe-filled experience, the experience of looking at 51 Months is deeply empathetic. Though she is absent from the book, Levy’s plaintive images allow us to feel her struggling with real pain, using the camera as a coping mechanism. Levy, now in her mid-twenties, is at London’s Royal College of Art, pursuing her masters in photography, after graduating from the School of Visual Arts in New York City. The work she exhibited this spring inn New York is conceptual, a far cry stylistically from the documentary approach we see in 51 Months. Even this recent work, however – strangely contorted, alienated nudes – reveals the continued influence of the formative experience of her father’s incarceration.

Metro Magazine, June 2005

BBC, June 28, 2005

Newsweek, “The Waiting Is the Hardest,” by Malcolm Jones, June 27, 2005:

Few things are harder to capture than absence. But that is just what Carrie Levy has done in her first collection of photographs, 51 Months, back when Levy, a former Newsweek photo editor, was 15 years old, her father went to prison for more than four years. She didn’t know what he had done wrong, and she didn’t ask. Instead, she got out her camera and started taking pictures of her mother, her brothers, and their Long Island home. There are occasional moments of visual splendor, a sunlit laundry basket glowing like some sort of domesticated burning bush – but what Levy nails in most of these images is unease. She wasn’t comfortable taking the pictures and the people in front of her camera didn’t know where to look. The resulting photographs, which have been edited roughly a decade later for this book, show a young photographer whose artistry is already as unflinching and acute as her subject matter is raw and unsettling. Levy and her father wrote eloquent essays for the book, but time and again it’s the pictures that tell the story.

The Winston-Salem Journal, “The Eye for the Usual,” by Tom Patterson, June 19, 2005

East International, Spring 2005

Photo London Catalogue, May 2005

North Carolina Museum of Art, May 20, 2005

The Charlotte Observer, “Reality and Mystery in a Camera’s Eye,” by Richard Maschal, May 2005

The News & Observer, “A Show Spurs a Gift to Museum of Art,” by Ellen Sung, April 18, 2005

The London Sunday Times, “Carrie Levy and Her Father, Glenn,” April 17, 2005

Carolina Arts, April 2005

Maine Antique Digest, April 2005

Photo London 2005 Catalogue, Emerging Artists Presentations

The News & Observer, “A Passion for Pictures,” April 4, 2005:

Village Voice, “Hide and Seek,” by Allen Frame, p. 16, March 30–April 5, 2005:

Carrie Levy, a 26-year-old American photographer currently studying in London has just released her first book. 51 Months – begun when she was 16 years old – is a five-year study of her father’s imprisonment and its impact on her family. After his release, she staged photographs with male figures exploring the anxious alienation of prison life. Now in her first solo show, Domestic Stages (through April 23), Levy offers a riveting series of male and female nudes. Photographed in the subjects’ own apartments. Directed by the photographer to hide their faces, the subjects turn their heads toward the wall or away from the camera, or bury their faces in their hands, or the sofa, creating twists of torso and angled views of the figure. These bold images at Daniel Cooney Fine Art revive a classic genre, even as they subvert one of the given in posed portraiture. The colors are bright and primary, the mood dark and dissonant. The atmosphere – heightened and almost glamorous – bring to mind Paul Outerbridge by way of Jean Genet.

School of Visual Arts Newsletter, Visual Arts Briefs, March 18, 2005

Village Voice, Voice Choices, Short List, by Vince Aletti, March 16–22, 2005:

Because Levy’s nude subjects have been asked to hide their faces, their bodies are contorted into strangely sculptural forms: the shape of avoidance, recognizable from perp walks and thwarted paparazzi shots. But these awkward efforts as self-effacement are in themselves revealing. Aziz + Cuchar’s digital identity erasures come to mind here, but Levy suggests both a more subtle sort of loss and a more deliberate turning away from the world.

Gay City News, “7 Days, 7 Nights,” March 3–9, 2005

2004

The Digital Journalist, April 2004