Featured Review: Focus on Photography: Recent Acquisitions This exhibit of new additions to the Kemper's collection concisely and powerfully charts the development of photography from its early, documentary-inflected use to its transformation into a contemporary expressionistic medium. The sepia-toned historic portraits in Edward Curtis' North American Indian series presage the medium's impressionistic capacity, its subjects appearing less objectively culturally situated as romantically (and exotically) framed with a foreboding sense of nostalgia. A collection of 1970s and '80s-era Polaroids by Andy Warhol functions somewhat similarly: Lesser-known luminaries can be seen as instantaneously vulnerable and self-consciously postured. Christian Jankowski, who in 2005 photographed Washington University students at the annual campus poster sale, doubles this sense of photography's capacity to capture its own late-capitalist commodification as an image-making device. Artwork appears as both a witless and poised subject in Louise Lawler's Not Yet Titled (2004), wherein Gordon Matta-Clark's raw building fragment, Bingo, is institutionalized in the renovated galleries of New York's Museum of Modern Art. Finally, the photograph becomes an abstraction in itself in Wolfgang Tilman's Silver 71 (2008), ushering in an era in which photography is an artistic medium, nothing more and nothing less. Also showing:2010 MFA Thesis Exhibition; this year's survey of graduate work includes notable pieces by John Early, Ryan Fabel, Joel Fullerton, Dani Kantrowitz and Mamie Korpela. Through July 26 at the Mildred Lane Kemper Art Museum, Forsyth & Skinker boulevards (on the campus of Washington University); 314-935-4523 or www.kemperartmuseum.wustl.edu. Hours: 11 a.m.-6 p.m. daily (closed Tue., open till 8 p.m. Fri.).
Edward Sheriff Curtis (American, 1868-1952); The Ford — Apache, 1903. Photogravure on tissue, 5 3/8 x 7 5/16" on display at Mildred Lane Kemper Art Museum.