There are no big crowds or large gestures in
But Still, It Turns: Recent Photography from the World at the International Center of Photography in New York, which brings together the work of nine photographers to illuminate, as if by aleatory spotlight, corners of the United States in everyday endurance. Instead, the mood is quietly contemplative, a muted melancholy settling over the show like a light fog.
But Still, It Turns what Galileo reportedly said upon the church’s rejection of his most famous theory was planned before the pandemic but held until this February. If the exhibition feels prophetic, you might attribute that to the tricks of time. If it feels a bit random, that is no accident, writes curator and photographer Paul Graham in the stylish catalogue, published by MACK. “To some viewers, the artists’ work presented here, with its tributaries and eddies, its non-sequiturs and perambulations, its lack of drama and prize winning moments, will mean it does not appeal
In New York’s Parks, Images That Make Us Long for Connection
Somber yet serene, Widline Cadet’s black-and-white portraits carry the sensation of familial intimacy.
Portfolios - April 16, 2021
I happened to be reading Roland Barthes’s
A Lover’s Discourse (1977) when these photographs by Widline Cadet landed in my in-box. Although, Cadet’s photographs might have a more likely kinship with Barthes’s
Camera Lucida: Reflections on Photography (1980), his highly personal study, in which he writes that “in order to see a photograph well, it is best to look away or close your eyes.”
Eyes closed, I tried to re-create my own version of these images, which would remain with me long after they were out of sight. What persisted was their coupling and twinning, what in a mix of Haitian Creole and English (Crenglish) one might call their
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