In Just Seconds, a traveling exhibition of Polaroid color photography, has returned from successful showings in New York, Chicago, and Dallas to a warm homecoming crowd at the Clarence Kennedy Gallery in Cambridge, Massachusetts, where it will remain until February 25.
The exhibition called Imogen Cunningham: A Celebration opened at The Stanford University Museum of Art on a Monday evening in mid-November and ran until January 23. The tables are downstairs; the photographs, upstairs, in the balcony that is reached by two grand balustraded stairways leading up from each side of the museum's highdomed marble lobby.
At the Sander Gallery in Washington, D.C., from September 25 through October 30, Lisette Model re-emerged from legend to the visibility of the gallery wall and the scrutiny of the public eye. Although she claims to have had "forty shows in thirty years," Model admits that most were a long time ago.
Genially, judiciously, and luckily, some one hundred modern portraits hung in a vigorous sweep on the walls of the Wildenstein Galleries from October 20, 1976, to November 28, 1976. Called Modern Portraits: The Self & Others, this exhibition seemed partly narcissistic, partly malicious, and almost totally fascinating.
The story of how these unique portraits by Mike Disfarmer were brought to light is almost as interesting as the pictures themselves. As it happened, this strange and almost friendless man had been dead more than fifteen years before his work was discovered through an unlikely combination of events.
The photographs were taken in Belgium, England, France, Ger many, the United States, and Wales. While the general term for these mining industry buildings is "preparation plants," Americans call them "breakers," the British "washeries," the French "lavoirs," and the Germans "Aufbereitung."
In Joel Meyerowitz's photographs, arms are raised, shadows echo, and glass reflects, in mute repartee, across interrupted spaces. The incidents he extracts from even quite rural scenes betray an urban eye. That does not mean the complex appearances dictating to his Leica look unsorted any more than they assume a predictable stance.
The house is staid, sitting straight-backed in this garden that flows and flowers around it, but you know the door will be open, and that the big room downstairs is really only a part of the garden that has somehow got itself hedged between walls.
Photography was officially born in France in 1839. Under the enthusiastic encouragement of François Arago, the inventors Nicéphore Niepce and Louis Jacques Mandé Daguerre were honored by the Academy of Sciences, the Academy of Fine Arts, the Chamber of Deputies, and the House of Lords.
JULIA SCULLY grew up in San Francisco, California, and Nome, Alaska. She received a B.A. in Creative Writing from Stanford University and an M.A. in Communications in Higher Education from New York University. As editor of Modern Photography magazine, she writes many articles as well as a monthly column, "Seeing Pictures."