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Richard B. WoodwardTrained as a painter in the late 50’s, Christenberry demonstrates in many of his photographs from the 60’s and 70’s an eye for the commercial semiotics that delighted pop artists at the time. He can’t resist battered or fading road signs and crooked hand-lettered messages. His serial images of isolated buildings, viewed year after year in various seasonal lights and states of decay, also have affinities with minimalism. He presents many of these structures as though they were inscrutable, functionless pieces of sculpture. They stand with doors and windows shut, uninviting, even a little hostile to outsiders. By now he is one himself, and that status helps him resist the lure of sentimentality.
— The New York Times