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Dozens of great photographers you've probably never heard of -- all of them women -- light up this ...
Museums • Review
Dozens of great photographers you’ve probably never heard of — all of them women — light up this revelatory show
“Translucent Hat,” ca. 1950, by Lillian Bassman, one of the dozens of female photographers represented in “The New Woman Behind the Camera,” at the Met through Oct. 3. (National Gallery of Art/Edwynn Houk Gallery, New York/Lillian Bassman Estate)
Image without a caption
By Sebastian Smee
Art critic
August 4, 2021 at 6:00 a.m. EDT
NEW YORK — If photography is to retain the high cultural standing it won for itself in the 20th century, we probably want less of it, not more. There's no chance of that happening, of course. But the problem facing the medium today is undoubtedly acute. Diminished in the digital age by its staggering ubiquity, photography has also been rendered untrustworthy, its once precious relationship to reality sabotaged by the limitless possibilities of digital manipulation.
To counter the medium’s rolling collapse into banality, gallery presentations of photographs have lately tended toward smaller, more discriminating selections (solo shows rather than big group surveys), magnified prints (size signals prestige) and a renewed fascination with the medium’s 19th-century beginnings.
“The New Woman Behind the Camera” bucks all of these trends — which may help explain why everyone is talking about it. It’s a big, baggy show at the Metropolitan Museum of Art in New York, through Oct. 3, that’s scheduled to open at the National Gallery of Art on Oct. 31. Conceived and organized by the NGA’s Andrea Nelson with the assistance of the Met’s Mia Fineman, it presents about 200 photographs by 120 female photographers from more than 20 countries.
{snip}
“During an Attack” (1943, printed ca. 1960s), by Galina Sanko. (Robert Koch Gallery)
{snip}
The New Woman Behind the Camera Through Oct. 3 at the Metropolitan Museum of Art. metmuseum.org. Oct. 31-Jan. 30 at the National Gallery of Art. nga.gov.
By Sebastian Smee
Sebastian Smee is a Pulitzer Prize-winning art critic at The Washington Post and the author of “The Art of Rivalry: Four Friendships, Betrayals and Breakthroughs in Modern Art." He has worked at the Boston Globe, and in London and Sydney for the Daily Telegraph (U.K.), the Guardian, the Spectator, and the Sydney Morning Herald. Twitter https://twitter.com/SebastianSmee
Dozens of great photographers you’ve probably never heard of — all of them women — light up this revelatory show
“Translucent Hat,” ca. 1950, by Lillian Bassman, one of the dozens of female photographers represented in “The New Woman Behind the Camera,” at the Met through Oct. 3. (National Gallery of Art/Edwynn Houk Gallery, New York/Lillian Bassman Estate)
Image without a caption
By Sebastian Smee
Art critic
August 4, 2021 at 6:00 a.m. EDT
NEW YORK — If photography is to retain the high cultural standing it won for itself in the 20th century, we probably want less of it, not more. There's no chance of that happening, of course. But the problem facing the medium today is undoubtedly acute. Diminished in the digital age by its staggering ubiquity, photography has also been rendered untrustworthy, its once precious relationship to reality sabotaged by the limitless possibilities of digital manipulation.
To counter the medium’s rolling collapse into banality, gallery presentations of photographs have lately tended toward smaller, more discriminating selections (solo shows rather than big group surveys), magnified prints (size signals prestige) and a renewed fascination with the medium’s 19th-century beginnings.
“The New Woman Behind the Camera” bucks all of these trends — which may help explain why everyone is talking about it. It’s a big, baggy show at the Metropolitan Museum of Art in New York, through Oct. 3, that’s scheduled to open at the National Gallery of Art on Oct. 31. Conceived and organized by the NGA’s Andrea Nelson with the assistance of the Met’s Mia Fineman, it presents about 200 photographs by 120 female photographers from more than 20 countries.
{snip}
“During an Attack” (1943, printed ca. 1960s), by Galina Sanko. (Robert Koch Gallery)
{snip}
The New Woman Behind the Camera Through Oct. 3 at the Metropolitan Museum of Art. metmuseum.org. Oct. 31-Jan. 30 at the National Gallery of Art. nga.gov.
By Sebastian Smee
Sebastian Smee is a Pulitzer Prize-winning art critic at The Washington Post and the author of “The Art of Rivalry: Four Friendships, Betrayals and Breakthroughs in Modern Art." He has worked at the Boston Globe, and in London and Sydney for the Daily Telegraph (U.K.), the Guardian, the Spectator, and the Sydney Morning Herald. Twitter https://twitter.com/SebastianSmee
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