Yesterday I was lucky enough to accompany my two great friends (who you may remember from earlier blog adventures ) to the Philadelphia Museum of Art to view "Zoe Strauss: Ten Years". After circling the museum for what seemed like forever trying to find a parking spot through the waves of visitors (good for the museum but unfortunate for my road rage) I finally headed in, skipping the admissions line because they were nice enough to grab a ticket for me. It was an amazing show, but left me feeling utterly… I dunno… uncomfortable.
New York Times reporter Karen Rosenberg shared her thoughts on exhibition: But where the article shines in its description of Strauss' past I-95 exhibitions and her ability to capture the essence and grittiness of the moment, it fails to convey the feeling that one gets viewing her photographs within the confines of the museum. Rosenberg notes that: "This [exhibition] feels a bit overloaded, if deliberately so, with 170 prints and 3 slide shows arrayed in a space much smaller than the football-field-size site under the highway." I do in fact believe that large number of prints was a deliberate move, forcing the viewer to acknowledge the daily blight that surrounds our so-called "comfort zones".
But what makes the room feel overcrowded is not the work itself, but the massive amounts of viewers that have paid admission to view these scenes of life captured in neighborhoods that lie far from the PMA. You wouldn’t be able to pay these people to take a tour of Camden, Biloxi, or Hunting Park, let alone meet the people that are the subjects of the photographs. Strauss has raised my consciousness through this juxtaposition, making the safe world of the PMA feel utterly uncomfortable, and making me yearn to view the photographs under I-95. I haven’t felt that moved by an exhibition in years, and for that she deserves a whole-hearted WELL DONE.
Clearly, I need to plan an outing to view her Billboard Project around the city. I think seeing the photographs, larger than life in Philadelphia's neighborhoods, will have me appreciating her work more than I do now.
