In 1987, on the 200th anniversary of the ratification of the US Constitution, Judith Joy Ross—the photographer whose career retrospective is at the Philadelphia Museum of Art —typed up letters to scores of members of Congress, asking that they sit for portraits “in their offices or other sites of their choosing,” as she put it. The results would be exhibited at the Pennsylvania Academy of Fine Arts as part of a yearlong bicentennial celebration.
The congressional portraits she completed—examples of which are at the PMA, her largest exhibition to date and its only US stop after touring Madrid, Paris, and the Hague—show that in those 15 to 20 minutes, she accomplished the remarkable.
Alongside her work, the curators of the Philadelphia show have smartly presented Ross’s selection of prints by Eugène Atget: five pictures by the French photographer whose haunted views of turn-of-the-century Paris inspire Ross. Through them, we see the way the contemporary picture maker uses her calculated exposures not just to stop time but to circumvent it; to tap into how people and things connect and communicate in ways that are difficult for the naked eye to perceive.
Source: Entertainment Trends (entertainmenttrends.net)
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