The recent death of the great Martin Parr reminded us that the best practitioners of photography tend to venerate everything about the medium that makes it unique. Parr described his photographs of trans Britons as “self-documentary”, which is how I try to describe it: the realism of the subject merges with the hand of the person taking the photo through lighting, composition, focus, etc. The recently closed Ken O’Hara exhibition at the Whitney Museum of American Art, in which he participated It sent cameras into random homes in the 1970soffers a much better look at the person behind the camera than whatever they are photographing.
Ming Smith (b. 1947) is another photographer who seems to enjoy the subjective and documentary aspects of photography, and her understanding of both elements is on display in “Jazz Requiem – Notes in Blue,” a new exhibition at the Portland Art Museum. The exhibition brings together works from the Detroit-born photographer’s travels to Europe in the 1970s and 1980s, capturing nightlife in both its audacity and glamor.
A great example of this combination is demonstrated in… Baroque Opera House (Italy) (1980). The composition here is gorgeous, giving the feel of the Tower of Pisa – of which an excellent photo appears in this view – because you first notice the grandeur of the cornices that adorn each balcony. Then you notice how everything is at a slight angle, and on top of that, there are all these people inside the balconies, long-haired beauties talking about the show and bringing chaotic life to the old feeling. The people on the lower level look directly at Smith, further puncturing the fit of the setting. Is this even allowed?
Although she is excellent at capturing these broad scenes of life, her portraits of people like Sun Ra and Pharaoh Sanders are able to go deeper. in Judith Jamison (1981) I caught dancer Alvin Ailey near a sunny window in the surrounding darkness. It may be another leaning and ornate structure, as it leans against the glass in a delicate but intricate garment. The sturdiest part of this building can be found at its top. The expression on this face is similarly strong, though also open to cooperation.
I’m not sure exactly what’s going on Social Distancing (1974)But it shows a group of people wearing papier-mâché masks, presumably celebrating Carnival, perhaps in France. Not knowing the details is okay because this picture is about her mastery of light and dark. The centerpiece is an ethereal bride in white. She wears a funerary-style human mask with eyes closed under a tangle of thread-like hair. In another context, it may be frightening but contrasted with the darkness of the nearby canopy and more outlandish costumes, it is instead a source of pity. Her hand takes another monster’s hand, and you’re really rooting for these two crazy kids.
“Ming Smith: Jazz Requiem – Notation in Blue“On display at the Portland Art Museum through June 7, 2026.
More show reviews
