The Griffin Museum of Photography usually doesn’t feel small once you enter its exhibition space. Make no mistakes, the Winchester musem is miniature compared to its local peers, but its curators usually pack in enough material to make the place feel larger. The Griffin may be the most idea dense gallery in the Boston Area.
But I found myself wanting to ask the curator of the Griffin’s current exhibit “The Body Familiar: Current Perspectives on the Nude” why it didn’t have more content. Focusing on a modest number of recent works by nine artists, the show ignores several other contemporary fine art photographers working with the human form — notably Donna Ferrato, Jock Sturges, Noboyushi Araki, Nan Goldin, Sally Mann, Rineke Dijkstra, among many others. Without a doubt, many of the artists just listed have courted controversy (Sturges, Mann, and Araki come to mind) or have had recent retrospectives or successful books (Dijkstra, Mann, Ferrato, etc.). Yet, that’s all the more reason to include them in an exhibit of “current perspectives.” One possible reason is the inclusion of very large works by John Coplans and Gary Schneider; three of the latter’s prints (rather difficult and grotesque, in my opinion) took up one wall by themselves.
Space and inclusion issues aside, the pieces included were very good. In particular, Vee Speers’ Bordello series combined allure and seduction with wall text and a unique technical process that — like the series’ namesake — hinted it all might just be a ploy. The deadpan technical precision in Mona Kuhn‘s images yields surprising power and subtlety. In a set of small prints from the buff series, Chalres Cohen pushes the limits of appropriation, negative space, and propriety. Meanwhile, Kenro Izu’s understated (almost imperceptible) platinum and palladium with cyanotype prints have the feel of Daguerreotypes or dreams. Elinor Carucci, Robert Flynt, and Henry Horenstein round out the remainder of the show.
“The Body Familiar” runs through March 19.

Click for larger postcard…
In the Emerging Artists Gallery, Ken Rosenthal’s “A Dream Half-Remembered” is brilliant. According to the interpretive material “Rosenthal bleaches and tones his photographs so that they are blurred and diffused, erasing specificity. The effect is a mystical quality like that of a dream we only half remember and reflecting the inner turmoil we feel upon waking.”