Urban landscape photography takes up a generous portion of the show, revealing that as the landscape itself evolves and becomes cluttered, photography evolves with it.
In 2019, Pier 24 Photography mounted the first half of a two-part institutional retrospective, “Ten Years of Pier 24 Photography: Looking Back.” That show surveyed the museum’s collection, simultaneously offering a truncated history of photography. The recently opened second half of the exhibit — “Looking Forward” — is a tastemaker of a show, sampling trends in the best of the best contemporary photography.
Daniel Postaer captures San Francisco’s urban sublime, particularly in “San Francisco, University Club,” 2018, which shows a familiar skyline behind an apartment building, a silhouette moving in the single lighted window. Here, photography both looks in and out at once, conveying the claustrophobia and expansiveness of city life.
Another form of representation the show explores is identity, with Tania Franco Klein and Chanell Stone turning the camera on themselves. “It’s me controlling my own narrative,” Stone writes, relying on the fact that photographs contain narratives and implying that narrative, itself, can be photographic. This rings true in the age of social media, where almost any image might be composed with equal premeditation to Klein and Stone’s pictures.
Then there are the more process-oriented photographers, whose work inquiries into the nature of the medium itself. Tabitha Soren’s series “Surface Tension” treads in the waters of digital experimentation: photographs of fingerprint-smudged screens showing photographs from news and social media websites. One of the most disturbing images here is a familiar one: white nationalists marching with torches at the 2017 Unite the Right rally in Charlottesville, VA.
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