Arne Svenson, The Neighbors #11, 2012 © Arne Svenson, Courtesy Julie Saul Gallery, New York
This is a response by Quinn Tivey to September 2014

Is it voyeuristic? Yes, gracefully so. Is it invasive? No. Svenson's subjects, such as the man in this example, are hardly identifiable. Instead, they offer elegant and poignant examples of universal and human moments. I don't need to know who this man is, but I can relate to his moment on the sofa. And I can imagine a narrative surrounding it. Interpret this picture as you like: Napping? Depressed? Contemplative? Viewer's of this series can embody his photos with whatever meaning they want.

While making the work, Svenson captured such beautiful and intimate moments (sometimes with funny or bizarre details, like with the giraffe seen here), by training his lens through his window and across his street. Viewers must interpret that action how they want. (In my opinion there's no problem - we're always on the receiving end of a camera in one way or another, and as I said, Svenson's images are hardly identifiable.) But, whether in approval of his working methods or not, I doubt any critical viewer could argue with how gorgeous and evocative the work is, parceled within the mondrian-esque framing of the windows, while obviously recalling work by Dutch masters like Vermeer. (Side note: consider the voyeurism in Vermeer's work!)