Debe anotarse que la calidad de ArtBasel sigue intacta y si bien en esta edición hubo menos deslumbres que en otros años, se apreció el alto nivel acostumbrado. Galerías ya clásicas como, entre otras, Thomas Schulte con Allan McCollum, Landau con sus Magrittes o Mary-Anne Martin con sus Gerszos y Tamayos aportaron la cuota de obras maestras que dieron lustre al evento, así como importantes Milton Avery, Hans Hoffmann, Helen Frankenthaler, Robert Rauschenberg, Sol Lewitt y Ellsworth Kelly. La escuálida participación de galerías locales contrastó con la robusta oferta de galerías brasileñas, entre ellas Anita Schwartz con la instalación de Nuno Ramos sobre los desastres de guerra de Goya, seguido por la argentina Jorge Mara La Ruche con fotografías de Grete Stern. Imperturbable con su aire giocondesco, la bella obra de Sally Mann en Houk Gallery neoyorkina, signó la elegante mirada de toda la feria.
The Denver Art Museum (DAM) proudly presents Challenging Terrain: Landscape Photography in the 21st Century, a survey of contemporary landscape photography from around the world. The exhibition of more than 80 photographs will gauge how living artists stretch the boundaries of traditional landscape photography to reflect the environmental attitudes, perceptions and values of our time. The works in Challenging Terrain will depict landscapes in unexpected ways, challenging visitors to see photography differently. Organized by the DAM and curated by Eric Paddock, curator of photography, Challenging Terrain will be on view June 24, 2018 to Sept. 16, 2018.
Works by well-known artists, including Cuban-American photographer Abelardo Morell, will be featured in the exhibition. His works focus on iconic views of America’s national parks made famous by previous generations of photographers, such as Ansel Adams. Morell’s process, rooted in photo history, uses a tent camera to project an image onto the ground that he then photographs digitally, resulting in familiar, yet unexpected works.
Stephen Shore, the subject of an immersive and staggeringly charming retrospective at the Museum of Modern Art, is my favorite American photographer of the past half century. This is not purely a judgment of quality. Shore has peers in a generation that, in the nineteen-seventies, stormed to eminence with color film, which art photographers had long disdained, and, often, with a detached scrutiny of suburban sprawl, woebegone towns, touristed nature, cars (always cars), and other familiar and banal, accidentally beautiful, cross-country phenomena. The closest to Shore, in a cohort that includes Joel Meyerowitz, Joel Sternfeld, and Richard Misrach, is his friend William Eggleston, the raffish Southern aristocrat who has made pictures unbeatably intense and iconic: epiphanies triggered by the hues and textures of a stranded tricycle, say, or of a faded billboard in a scrubby field. While similarly alert to offbeat sublimities, Shore is a New Yorker more receptive than marauding in attitude. I fancy that Eggleston is the cavalier Mephistopheles of American color photography, and Shore the discreet angel Gabriel.