Archives for posts with tag: curating

This is a landscape photograph of the Iguazu Falls in Brazil. It’s a colour photo, but the muted grey of the flat water at the top of the image and the whiteness of the spray make it appear black and white. The muted tones belie the rushing activity of the water.

There are three sections in this image: the inverted triangle of falling water in the centre, framed by the spray at the sides of the image and the river and horizon at the top.

The high definition of the photograph picks out these sections in three distinct textures. The unfallen river is glassy and smooth, the spray is a soft, cloudy mist. Where the water pours over the edge, the very top of the waterfall, it has an intricate sculptural quality. The patterns of this central focus point are repeated elsewhere in nature – these shapes could be veins, or the inside of your iris, or a nebula. It’s an impersonal photograph, as I suppose landscapes often are, but in this universal structure there is a unifying quality. This shape could be anywhere in the universe, it could be inside you.

By photographing the waterfall, Tillmans has rendered movement still. Thanks to the camera, we are invited to examine the way the waterfall stands in one moment. It’s a very contemplative image. It captures three very different stages of movement; a seeming calm, a plunging rush downwards, and a soft, gentle rise. 

The power of the waterfall is almost lost in its beauty. Only the boats at the very top edge of the photograph recall the danger of the water, the fragility of the human world. Hung alongside photographs of shiny cars, this photo is a pause from urban life, a moment of meditation on something separate from humans. Without the boats, without Tillmans, Iguazu falls would go on falling. 

17 works by women photographers lent by the National Museum of Women in the Arts reflect the diverse, complex, and often shared experience of women worldwide.

Lying on a bed in a green dress, staring at the viewer with twirled hair styled and placed in a halo around her head, Daniela Rossell’s ‘Medusa’ is a better, more substantial precursor to Kendall Jenner’s most liked instagram pic. There is power here, and vulnerability and intimacy which, shockingly, is not present on Kendall’s gram.
Hellen van Meene’s photographs are like illustrations for a book of fairy tales. The text described them as looking natural but actually planned meticulously. To me they do look painstakingly curated and posed. To me there is nothing natural about the props and scenarios. Each subject seems to have an unclear but definite story – one girl is a bubblegum princess in a tower, another girl dead from a curse, a third girl blows magic dust to cast her spell. In this exhibition on the female body and the female gaze the fairytale element is unsurprising – fairytale women have very definite roles set out for them. Here there is some discussion of how real girls and women feel – bubblegum princess is bored, and the girl clutching the feather heart looks more angry and sad than happily in love.

Nan Goldin’s ‘Self-Portrait in Kimono with Brian, NYC’ has a melancholy intimacy about it. Partially clad on a bed in a rosy dawn or dusk light, this could be a romantic, post-coital scene, but the back to back figures seem to hold something from one another. Their tension and frustration is in contrast to Brian’s upfront sexuality that can be glimpsed in the photograph of him, cigarette dangling from lips, pinned in the top right corner of the work. This is an honest snapshot of a moment in relationship, and an almost universal experience.

It’s always a pleasant relief to see images of women through the eyes of women. Interestingly, there were no nudes in this exhibition – these were women’s and girls’ bodies without the sexualised male gaze. That’s not to say the women depicted were devoid of sexuality, rather that these women are more than simply sexual. There was an intimacy present in many of these photographs; the viewer is often invited into a bedroom, again not so much a sexual as a private place. But there were also grand scenes, such as Marina Abramovic as a peace warrior on a white stallion. Women can be everything, and there was a little bit of everything in these photographs.