Seeing Now

Artistic photography, as opposed to documentary, is often most potent when it captures a reality in which time is irrelevant. In its absence the viewer experiences an impression of what was once real without being subjected to the linear narrative on which we typically base existence. Because of this effect, there is a subtle surrealism that pervades certain images. It’s this portrayal of ourselves, removed from our visceral physical reality, that allows us to connect to our humanity by means of a reaction that unleashes our imagination. What Weekly contributor, and one of Baltimore’s most notable up and coming photographers, Philip Laubner, took in the new photography exhibit at the Baltimore Museum of Art recently and shares his thoughts about Seeing Now: Photography Since 1960.

Photo by Philip Laubner.

I took a picture of Sally Mann’s The Last Time Emmett Modeled Nude (the big picture above).The black water, perfect for reflection, served also as a metaphor for a captivating evening at the Baltimore Museum of Art. Here you catch a glimpse of attendees at opening night of Seeing Now wading through an impressive, gritty and yes sometimes dark collection of modern photography.

Photo and story by Philip Laubner.

Images from Larry Clark’s Tulsa

In 1959 Robert Frank released The Americans, an honest look by a Swiss outsider into American culture. At the time it was criticized as being too judgmental and sloppy, Arthur Goldsmith of Popular Photography said that the collection was full of “meaningless blur, grain, muddy exposures, drunken horizons and general sloppiness.” The book also challenged and threatened the popular perceptions of freeze-dried 1950’s America. When referring to the book one American Art Historian even said that it’s “not my America.”

Photo and story by Philip Laubner.

Images from Larry Clark’s Tulsa

After 1960 Robert Frank’s courageous and shocking work was embraced by photographers for the same honesty and grittiness for which, it had once been criticized. It’s telling that the first image of “Seeing Now” is a Robert Frank piece. For me, the show’s heart is a collection of photographs by Danny Lyon, Garry Winogrand and Larry Clark. The latter fills an entire room devoted to his no-holds barred book Tulsa that is directly influenced by Robert Frank’s work. Almost half of the over 200 images in the collection are by these three amazing photographers, but it’s hard not to see Frank’s influence in nearly all of them.

Photo and story by Philip Laubner.

The members’ parties at the BMA draw an eclectic gathering of Baltimore’s creative class and art patrons. There’s always delicious food everywhere, on trays and many tables and the dance floor is in a beautiful cavernous wing of the BMA. The dancing was a great way for the body to balance with all the mental activity of the evening. Being a fan of the museum and all that they do I don’t mind relaying the message that the yearly membership more than pays for itself at $50 a person, $75 for a couple or family and $25 for students (if I were a student this would be a no brainer).

For example, coming up is the African Film Festival on March 5 & 6. It’s one of the many events members can go to for free.

Photo and story by Philip Laubner.

Alex Hewett in front of Garry Winogrand’s series Women are Beautiful.

Photo and story by Philip Laubner.

Josephine Ioime

Photo and story by Philip Laubner.

“Photography is the medium in which we understand reality, and hope to see the sensitivity that humanity presents.” –Seeing Now curator Kristen Hileman.

Photo and story by Philip Laubner.

Doreen Bolger introduced the BMA’s Curator of Contemporary Art, Kristen Hileman. Not only did she provide insight that pertained to the current exhibit she also expounded upon the subject of the current renovations in the West Wing at the BMA. The plans include lighting specifically designed for photography exhibits which, often takes a backseat to more established genres of art such as painting and sculpture. The museum is having a member party on April 16 in the West Wing for contemporary art which will serve as a launch for the three year renovation. The West Wing will be empty leaving an open space for food, drink, art projects, music and performances.

Photo and story by Philip Laubner.

Museum visitors taking advantage of the photo booth at the Seeing Now exhibit.

Photo and story by Philip Laubner.

Images from Larry Clark’s Tulsa

I assume the main reason the Larry Clark Tulsa collection is in a separate room is due to the graphic nature of the work, there’s a warning sign on the door as you enter. But for me, it’s fitting for his 50 pieces to be displayed on their own, as the fearless and honest work of Robert Frank,
whose photograph started the exhibition, is taken to an extreme in Larry Clark’s Tulsa.. He performs the feat of humanizing the drug shooting fringe of his native Tulsa, a culture with
behavior that’s sometimes hard to accept.

Photo and story by Philip Laubner.

Loring Cornish

Photo and story by Philip Laubner.

Lauren and Steve enjoying Laurie Simmons’ Walking House.

Photo and story by Philip Laubner.

I didn’t go directly to the after party as I was pulled in by the exhibit, and it’s not a quick read. At the end of the exhibit there’s a dark room with Ground Gel, by Dennis Oppenheim, which is 160 slides running on two projectors with a dissolve. Here one might find a respite for the eyes, and a transition into the actual party. The first thing you come to is a photo-booth, the kind you can sit in with your friends and pull the curtain, which is an interesting experiment after having your head torn off and put back on photographically by the exhibit. At the booth I could hear music and I rounded the corner to see Rodin’s Thinker, which was appropriate as my mind was still reeling from the exhibit. As always, the BMA served up a feast for the senses. Their events and exhibits are by far some of the most impressive in the city.

Seeing Now: Photography Since 1960

Photo and story by Philip Laubner.

‪In Good Night Good Morning ground-breaking video and performance artist Joan Jonas, uses repetitive morning and evening salutations to mark time and play with self-portrait and identity.‬

Seeing Now: Photography Since 1960

Photo and story by Philip Laubner.