Oof. I try and get these posts out faster but sometimes life gets in the way. I took my annual visit to Pier 24 last summer but am only just getting to writing about it now. Posts about cards and my photos I can jam out quickly. Posts requiring me to reflect and think about something I’ve seen take a bit more time than I ca muster while trying to get a new house moved into.
I try to get to Pier 24 every summer no matter what the exhibition is. This summer the show was looking back at the previous years of shows and sort of summarizing where the collection has been over the past half-dozen years. In many ways this was the perfect show to let marinate longer. There’s nothing specific to review. Instead I get to reflect on how my thoughts about photography have changed over the past couple decades.
The Pilara Collection is kind of like the Criterion Collection in that it’s most of the standard canon of must-know works. As a result, it’s heavily western white-guy dominated with a few key Japanese artists thrown in the mix. Most of my formative photographic education came through viewing these artists and they’ll always be there as point of reference.
However, the missing pieces are increasingly obvious. Unfortunately, Pier 24’s no-context display does the collection no favors in terms of admitting any awareness of it’s deficiencies. It’s very easy to walk through the galleries and let yourself be led by the images into imagining a medium and history that’s dominated by a narrow point of view.
Or you can walk through like I do and let the no-context stuff be an excuse to project my own context on everything instead. This is especially true with the portraiture section and the way we know how white gaze works coupled with the increased access to photographic self-expression over the past couple decades.
Portraits
That the exhibition started off by grouping Diane Arbus, Paul Strand, and Richard Avedon. I laughed. While this does a disservice to Arbus’s work it says a lot about photography’s tendency toward othering its subjects and putting them on pedestals. The photos are great but we’re immediately put in the position of either gawking at the subjects or worshipping them—neither of which is the frame of mind I want to be in when viewing portraits.
Many of the portraits are beautiful but also emphasize the surface of the of the subject over all else. Halsman’s photo of a refugee woman is a full-on glamour shot even though she’s identified as a refugee. August Sander’s Pastry Chef* is surrounded by other portraits featuring similarly larger-faced subjects. In many ways the key image for me is Valerie Belin’s mannequin since it at least admits that the whole gallery is about the superficial.
*Always a joy to see in the flesh. As much as I sometimes side-eye Pier 24’s displays it’s great to just see some of these images live. Also Sanders’s matting is interesting in that it’s just a hole cut in a piece of paper.
Still even in the one or two images per photographer on display I found my self making connections and learning some things. For example I’d never seen an Edward Weston nude of a black model before. And there were a couple common subjects—a Marilyn Monroe photo booth image vs one by Avedon and an Irving Penn Truman Capote portait vs Avedon’s—that are always something fun to compare.
It was interesting to compare the room of portraits to the room of mugshots. There was a wall of women from Philadelphia, most of them black, which ended up being most of the non-white photo subjects in the entire exhibition.* Even though the rest of the mugshots were mostly white subjects I found myself thinking about the ways the photography canon traditionally represents people.
*Curiously the excerpt in the gallery guide was closer to only 50% black.
I enjoyed going from the mugshots to the deadpan portraits room. That half of that room was Dijkstra was a bit unfortunate though. The idea of featuring deadpan portraits as a way of looking at other expressions in the sitter is great. But a lot of the works on display here pointed the discussion toward the photographer instead of the subject.
Which brings us to Alec Soth who probably more than any other photographer represents where Pier 24 has been. Yes it’s an archive of the photography canon but it’s also been a platform for a certain kind of photo project looking at Rust Belt and other communities which are increasingly overlooked by mass media.
I…These have not aged well for me in the age of Trump. I had the same thought last year but every time I see A-list photo projects investigating poor white communities now I get the same hives I get from the endless media profiles normalizing Trump voters.
Industry and Labor
The rest of the show was mostly typical photo subjects. A big room of industry and labor which showed how factories and labor conditions worldwide have changed, or not, over the century from Lewis Hine to today. These were generally good and provided an interesting counterpoint to the studies of modern American Rust Belt decline in that we got to see where the work is going and can think about whose choices are responsible for that movement.
I was struck by Madon Mahatta’s Escorts Factory photo which showed workers in 1964 wearing sandals and no eye protection. Also, amusingly, my brain misidentified a Burtynsky as a Gursky and in a very un-Peer 24 choice there was a solitary Becher image. This wasn’t as weird as the Met’s solitary Becher since at least there were other industrial photos for context but after SFMOMA has had an entire Becher room up you’d think people in San Francisco would know better.
The highlight of the room though was the wall of Renold and Coventry component cards. Both the cards and the components the depict reflect such a different age of infrastructure and industry. We can see the commonality in photos of factories and assembly lines over the years. However the components of the factories themselves and the way they’re inventoried and cataloged are going to be completely different. Looking at the individual pieces takes us into the technology of the time and orces us to think about what specifically those factories were making.
Locations
There was also a lot of photography of locations in the United States—specifically New York City and the American West. As someone who grew up in California, New York City was always a bit of a cliche. It’s nice to see older photos from Winogrand or Friedlander but the way their influence so dominates what a certain genre of photos is supposed to look like is troublesome.
This is especially with a lot of Winogrand’s photographs. I still have favorites but more and more of them look dated and uncomfortable as society’s norms around photography and publishing has become a lot more aware of how intrusive photographers can be. When he’s good he’s great but man are a lot of his images tough to look at now. Friedlander-wise I like a lot of his humor and can look at his cat or car photos all day.
Moving to The West and, while as an East Coaster now I see a decent amount of cliched views, photographers like Robert Adams and Henry Wessel are still doing things that new photographers aren’t trying to emulate. Maybe this is because both Adams and Wessel are just too fucking good or maybe it’s because the western cliches I see from the East are all landscapes instead of cityscapes.
Anyway it’s always a joy to see a room of Robert Adams or Henry Wessel. It’s especially nice to see some of the Adams photos be taken in the same photo session since getting a bit of a primer about how Adams worked a scene and moved around to find the angles is a free photography tutorial in finding the light and exploring the relationships between elements in the frame. Wessel meanwhile is all about that glowing light and the way it produces textures and shadows.
The last bit of photos in this section were of San Francisco. I’m unable to react to them the same way as anything else since these are home to me. While I’m no longer a tourist in New York City, I’m in no way a New Yorker either. But with the SF photos I just end up liking what I’m seeing. Highlights here were Ed van der Elsken, Lee Merrit Blodgett, and Fred Lyon.
Looking Forward
Last room of the show was a room of Adou’s ghostly and ethereal photographs. I enjoy these very much but they seem completely out of place with the rest of the show being so Western.* Adou is someone I saw at San José and just doesn’t feel like someone Pier 24 was showing.
*Yes there’s a couple Sugimoto rooms but since they’re his wax museum portraits of Henry XIII and his wives along with the Last Supper they were very western subject matter.
That said the Adou room is something that points the way forward about where Pier 24 can go as it expands the canon. New artists doing work that doesn’t operate in the same Western traditions or with the same gaze that the rest of Pier 24’s show does. Photos that are more inside jobs than one which centers the Western gaze.
I can appreciate Adou’s work as being beautiful and evoking a sense of cultural pride while also mourning the loss of a way of life. But I know there’s more there than I can ever hope to get. And that’s OK, I can still feel the power of the images without having it spoon-fed to me.
We drove back to Kailua from the Bishop Museum via the South side of the island. The long route so not just taking the H1 out toward Kohala but going along Waikīkī and giving them a chance to see the tourist section of town and why we prefer staying on the Windward Side.
While we were in downtown Honolulu we walked around a bit. Some of this was forced because of parking reasons but it’s also nice to just walk. We checked out the capitol building and grabbed lunch from a Korean lunch spot and ate in the park. Then we drove out to Waiola Shave Ice before heading back to the Windward Side.
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