Dan's Papers -November 21, 2008 - Art Commentary - Modern Photography at The Parrish

Most times that we view an art exhibit, we are often moved in some intellectual or emotional way. One thing for sure: We don't expect to become frustrated and angry by the experience, unless that's the aesthetic intention.

Seeing The Parrish Museum's current show, "Modern Photography," is a rare exception. Not only did it leave this critic frustrated and angry, but the other spectators also reported similar reactions. Even a second viewing did not dismiss the disappointment.

Oddly enough, we are not talking about the quality of the photographs, which are extraordinary in many cases. We are talking, instead, about the works' self-conscious arrangement, and most importantly, the attempt to label them. Because there are so many photographs displayed, most pieces are not named individually but organized in groups: The groups are then represented on charts. We must find each photograph on the chart by its shape and placement to discover its name and photographer. Impossible.

Attempting to give the exhibit every break possible on this point, and realizing that yours truly may be partly to blame for needing the charts as identification aids, another thought emerged. Perhaps the concept is that the photographs should be seen as an aesthetic entity, where separate images function as part of the whole.

Actually, art critic Andy Grundberg suggested this idea when lecturing about the exhibit at its opening. To be perfectly honest, however, we aren't entirely sure what his thesis was. We think his idea is that no labeling is necessary; instead, pictures should lose their individual natures. Their essences should derive from the relationship with other works on the wall. The challenge then becomes how to organize pictures so they make sense and give clarity to the world. Naturally, we could be really wrong in our interpretation of the exhibit's intention.

All this viewer knows for sure is that the following are some favorite photographs. Forget their relationship with nearby images.

Richard Price's cowboy figure is a hoot and unlike some of his signature works. Richard Avedon's subject is unique, also contradicting his recognizable celebrities. Chuck Close's portraits are always exceptional, his individuals recognizable or not.

Narrative photographs are always intriguing, including Joanne Callis' "Man With Tire" and Ed Ruscha's "Pool Series." Popular culture themes are fascinating as well, like Lou Stoumen's "Times Square" and other neon settings.

Social-political subjects are noteworthy, too, like Danny Lyon's bird's-eye-view of Ramsey Prison and Robert Frank's teenagers posing by a car. (It's curious to note that both photographers also made films.)

And who can forget Berenice Abbot's image of Wall Street and the Stock Exchange? They're still potent after all these years, still more meaningful today than ever, still able to stand by itself without a relational context.

"Modern Photography" will be on view at The Parrish Museum until Nov. 30.

CORRECTION: Rima Mardoyan's show at Guild Hall will be on view until Nov. 30, not Nov. 23 as previously indicated.