It can take steel nerves to look at photographs of horrifying things. But sometimes, it’s important to see them. The very best photographers get this and offer the viewer a spoonful of sugar to help the medicine go down. From different historical periods and with divergent viewpoints and processes, photographers Danny Lyon and Richard Ross are unexpectedly engaging as they offer their indictments of the American justice system at Clark Gallery in Lincoln, MA through June 18, 2016.
“Heat Exhaustion, 1971” (Copyright Danny Lyon, courtesy of Etherton Gallery, Tucson, AZ and Clark Gallery, Lincoln, MA).
Danny Lyon is a consummate documentary photographer, whose solo retrospective will open at the Whitney Museum of American Art in NYC on June 17th (http://whitney.org/Exhibitions/DannyLyonMessageToTheFuture). Famous for his career-long fixation on the welfare of those who occupy the margins of society, the Clark Gallery is presenting 25 luscious gelatin silver prints from Lyon’s 1971 book, “Conversations with the Dead”, depicting his 14-month project at six Texas State Penitentiaries during 1967-68.
“Meal Line, 1971” (Copyright Danny Lyon, courtesy of Etherton Gallery, Tucson, AZ and Clark Gallery, Lincoln, MA).
True to the period in which they were created, Lyon’s B&W photographs are printed full-frame (with borders evident) at 11”x 14”, a modest size by today’s standards. Whether intended or not, this format draws the viewer close to the print, demanding an intimacy that magnifies the impact of each image. And they are already abundantly compelling.
“Boss, 1971” (Copyright Danny Lyon, courtesy of Etherton Gallery, Tucson, AZ and Clark Gallery, Lincoln, MA).
Lyon’s compositions are entrancing, utilizing strong compositional elements such as line and perspective (often wide-angle) as effective visual magnets. Once caught in his web, the social and psychological implications of the images hit hard, amplified by the gorgeous tonal range of the prints (printed later, in 2008). When people talk about the “power of images”, this is what they’re talking about. The acute irony resides in Lyon’s deft juxtaposition of authority and sublimation, his indelible impressions raising an impossible tangle of issues.
“Shakedown, 1971” (Copyright Danny Lyon, courtesy of Etherton Gallery, Tucson, AZ and Clark Gallery, Lincoln, MA).
“Central Juvenile Hall, Los Angeles, California, 1, 2014” by Richard Ross (courtesy of the artist and Clark Gallery, Lincoln, MA).
Pairing the historical work of Danny Lyon with Richard Ross’ contemporary project on the incarceration of minors, “Juvenile In Justice”, could be the recipe for an overwhelming sense of despair, but it isn’t. Rather, the visual appeal of the photographs offer a filter through which viewers can digest the content. Moreover, the differences in the two artist’s perspectives, processes and time frames offer fascinating contrasts.
“Challenge Program, Juvenile Detention Facility, El Paso, Texas, 1, 2008” by Richard Ross (courtesy of the artist and Clark Gallery, Lincoln, MA).
Viewing Ross’ softly hued images with Lyon’s rich monotones is perhaps the most obvious contrast in style. Compositionally, Ross’ relatively large 24”x 38” prints possess a formality that amplifies their sense of authority, a favorite theme and title of the photographer’s last book, “Architecture of Authority”. Through his quietly moving images, Ross implores us to share his outrage. To confine so many minors strikes at the very heart of our national image of freedom and tolerance.
“Oak Creek Youth Correctional Facility, Albany, Oregon, 1, 2012” by Richard Ross (courtesy of the artist and Clark Gallery, Lincoln, MA).
Although some of the images are accompanied by narrative, the resonance of Ross’ work is revealed in the way he contrasts his disciplined, geometric compositions with the seemingly small, tentative individuals confined within them. The children appear as colorful, sometimes blurred focal points in their stark, cold and hard cells. The disparity intensifies a sense of bewilderment, the feeling that there is a dystopic parallel universe within our country.
“Jan Evans Juvenile Justice Center, Reno, Nevada, 1, 2010” by Richard Ross (courtesy of the artist and Clark Gallery, Lincoln, MA).
A series of photographs depicting empty isolation cells line one wall of the gallery, smaller 20”x 24” vertical prints that all have the same standard, frontal perspective. Taken together, their uniform geometry and soft pastel palettes seem to be intentional visual abstractions. Upon reflection, the repetitive monotony suggests the helpless desperation of confinement.
“Alameda County Juvenile Detention Center, San Leandro, California, 1, 2009” by Richard Ross (courtesy of the artist and Clark Gallery, Lincoln, MA).
Pairing the photographs of Danny Lyon’s “Conversations with the Dead” from the late 1960’s with Richard Ross’ contemporary, ongoing “Juvenile In Justice” is an inspired combination that contrasts and accentuates the strengths of each artist. As different as their imagery is, they share the ability to render beauty and abhorrence in the same photograph, that delicate balance of attraction and repulsion that captures not only our attention but our imaginations.
“South Bend Juvenile Correctional Facility, South Bend, Indiana, 1, 2011” by Richard Ross (courtesy of the artist and Clark Gallery, Lincoln, MA).
For directions, hours and more information about this exhibit, go to: http://www.clarkgallery.com/hours
Feature Image: “Hoe Sharpener and The Line, 1971” (Copyright Danny Lyon, courtesy of Etherton Gallery, Tucson, AZ and Clark Gallery, Lincoln, MA).
“Main Entrance to the Walls, 1971” (Copyright Danny Lyon, courtesy of Etherton Gallery, Tucson, AZ and Clark Gallery, Lincoln, MA).
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