ART / Wednesday, December
14,2011 Focus
on America |
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Photographer Alec Soth captures the quirky and the queer, and its on display at the Everson
The show draws from various segments of Soths work, including his early photography and a project documenting movie theater facades in rural Texas, but the exhibits energy comes primarily from his storytelling, from narratives about everyday people far removed from Hollywood or professional sports or reality TV. The images dont offer pat conclusions on life in the United States or pretend to define peoples lives. Instead, the vision is complex, offbeat, based on what Soth has found during his journeys around the country. Again and again, his photos convey a sense of subjects without overreaching. Peoples lives are complicated, and a single photo cant begin to sum up an individuals existence. Soths images often imply, suggest and challenge viewers to evaluate several possibilities. Consider, for example, several photos from Sleeping by the Mississippi, the artists first major project and one created during road trips extending from Minnesota to New Orleans. Joshua, an inmate at Angola State Prison in Louisiana, appears with the word Preacherman sewn into his collar. We can speculate about why hes in prison, whether he began practicing religion before or after incarceration, and other options. Similarly,
an image taken in Davenport, Iowa, portrays a mother and daughter who
seem to be experiencing intense emotions. We dont know if they are
concerned about economic troubles or a relatives health or another
issue.
Those two images, like most of those hung at the Everson, were shot after Soth asked a person to pose for him. We werent privy to those conversations, but we can view their aftermath, and its clear that Soth isnt operating with a negative view of his subjects. In particular, the photographer seems to have an affinity for people living in rural areas. An image of Charles, from Vasa, Minn., shows him holding toy airplanes in his hands and seems to suggest hes an eccentric person. At the same time, theres no hint of ridicule; the image simply shows the subject in a relaxed context. Yes, questions do arise from time to time about the relationship between the photographer and his subjects. One image from the Niagara series depicts a couple, Michelle and James, naked in a motel room. The photo needs to be considered in the context of the series; the work isnt intended to mock the couples body types or shock viewers. Ultimately, the image focuses on peoples need for intimacy. Other images demonstrate Soths rejection of facile approaches in his work. A photo of Stacy, seen in South Plains, Texas, depicts her in the foreground and sheep, partially hidden by mist, in the background. Its easy to view this piece as merely capturing a visual oddity, but theres more going than just whimsy; the image touches on how we perceive the world around us. And the photos from Broken Manual, a project concentrating on monks, hermits, survivalists and separatists living apart from society, definitely dont follow a script. In contrast with some of Soths other major projects, this series pays little attention to sense of place, instead delving into the human condition. Theres no sense that living in isolation, away from other people, creates Eden or anything close to it. Rather, the series suggests that many of the subjects leave society with personal baggage and dont discard it through solicitude. Indeed, an image of a naked man standing near a stream seems less than idyllic after viewing a swastika on his body. Yet, hes hardly emblematic of the Broken Manual images. Other photos document where subjects live: in a truck, underground in a cave, in other sites. One of the exhibitions best images portrays a monk in a forest, looking tiny as he stands among tall, tall trees. He looks lonely but comfortable, situated in an environment ideal for contemplation. Having the Broken Manual images in the same exhibit as other series provides an in-depth look at Soths work, one made possible by a portfolio of more than 100 photos. Theres an opportunity to contrast photos from Sleeping by the Mississippi with images from The Loneliest Man in Missouri. In that project, Soth turned street shooter, creating most of the photos when the subjects were unaware they were being photographed. And the large show certainly has individual images that stand out. Soths photo of Dynell, a store employee, in a Bemidji, Minn., convenience store, floods the room with light, giving the impression that the items on sale are more than mere objects. With Soths treatment they become icons. His panoramic shot of Niagara Falls provides a fresh look at a scene photographed and filmed many times before. The Everson exhibit, the first full-length survey of Soths images shown in a United States museum, is a well-done retrospective. It presents a large array of photos, organizes them wisely, and lets connections among images arise within the flow of the exhibition. In addition, the show operates with restraint. Theres no claim, direct or indirect, that Soths images make a definitive statement on our society. His work provides a slice of life, a view of individuals mixed with exploration of relationships, culture and the notion of community. From Here to There: Alec Soths America is on display through Jan. 16 at the Everson Museum, 401 Harrison St. The museum is open Tuesdays through Fridays and Sundays, noon to 5 p.m., and Saturdays, 10 a.m. to 5 p.m. For more information, call 474-4064. |
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