2008 Woodie Awards
MCA exhibit showcases modern photography
Lily Hansen
Issue date: 4/2/07 Section: Frontline
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The Museum of Contemporary Art's latest exhibit "Defining Moments in Photo: 1967-2007" is a showcase of modern photography that illustrates its recent acceptance as a true art form. The exhibit shows progressions in technology from standard darkroom-produced black and white pictures to the recent phenomenon of digital photography. The works are extremely diverse and themes range from political messages to staged photographs which are simply created for aesthetic purposes. Although the exhibit's works are far from conventional, the large selection of photographs guarantee the viewer will have at least one favorite new piece.
Many of the political photographs convey controversial issues such as Robert Heinecken's "V.N. Pin-up" (1968). The photograph is of a lingerie-clad woman covered in news titles and is Heinecken's interpretation of how men in the Vietnam War were exploited by the government. Other works convey social issues such as Bruce Nauman's "Eleven Color Photograph Series" (1966-67) which uses words and pictures to show typical characteristics given to artists. The photographs are minimal and Nauman's images of spilled coffee, hands and a sweater-clad torso tied up by a rope represent the conventional hot-tempered, impulsive and doomed-to-fail artist persona.
Photographs range from complex and chaotic such as Andreas Gursky's "Chicago Board of Trade II" (1999) to Luisa Lambri's simple study of light in "Untitled" (2005). Gursky's work, with its double-exposed negative overlapping and transparent figures, is overflowing with details and resembles a "Where's Waldo?" book. Lambri's unembellished photograph of the interior of a building provides a perfect contrast using light and shadows as its subjects.
Carrie Mae Weems' "Sea Island" series (1992) was taken along the coast of South Carolina and Georgia where slave ports once existed and residents feel strong ties to Africa. Weems incorporates local folk tales and superstitions which animates her subjects and makes the photographs some of the most personal of the exhibit. Christian Boltanski's "Monument: Les Enfants de Dijon" (1985-86) is a touching memorial dedicated to the children of post-WWII era. The photographs resemble school portraits and are displayed in a dark room surrounded by lights. The effect of the presentation is extremely powerful and connects to the viewer more than any other piece in the exhibit.
Many of the political photographs convey controversial issues such as Robert Heinecken's "V.N. Pin-up" (1968). The photograph is of a lingerie-clad woman covered in news titles and is Heinecken's interpretation of how men in the Vietnam War were exploited by the government. Other works convey social issues such as Bruce Nauman's "Eleven Color Photograph Series" (1966-67) which uses words and pictures to show typical characteristics given to artists. The photographs are minimal and Nauman's images of spilled coffee, hands and a sweater-clad torso tied up by a rope represent the conventional hot-tempered, impulsive and doomed-to-fail artist persona.
Photographs range from complex and chaotic such as Andreas Gursky's "Chicago Board of Trade II" (1999) to Luisa Lambri's simple study of light in "Untitled" (2005). Gursky's work, with its double-exposed negative overlapping and transparent figures, is overflowing with details and resembles a "Where's Waldo?" book. Lambri's unembellished photograph of the interior of a building provides a perfect contrast using light and shadows as its subjects.
Carrie Mae Weems' "Sea Island" series (1992) was taken along the coast of South Carolina and Georgia where slave ports once existed and residents feel strong ties to Africa. Weems incorporates local folk tales and superstitions which animates her subjects and makes the photographs some of the most personal of the exhibit. Christian Boltanski's "Monument: Les Enfants de Dijon" (1985-86) is a touching memorial dedicated to the children of post-WWII era. The photographs resemble school portraits and are displayed in a dark room surrounded by lights. The effect of the presentation is extremely powerful and connects to the viewer more than any other piece in the exhibit.
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