The Viewpoints exhibition , photographs from the Howard Greenberg Collection at the MFA in Boston was one of the most impressive exhibitions I have seen, I am unfortunately getting to posting this later than I had hoped, I saw the exhibition shortly before it closed last December.

The Howard Greenberg gallery has long been one of my favorite stops when I am able to get to New York. His gallery’s focus on documentary photography, and selection of what work to show, is fantastic. The gallery space is awesome, the staff is so personable & knowledgeable, and their exhibition designs are always so well crafted.

The aspect of the MFA exhibition I loved the most was it gave the viewer insight in to Howard’s vision. It explained his approach to the medium, and what interested him. The collection includes many of Howard’s favorite prints and the stories behind why the images are important to him. In some cases it tells how he came to obtain the prints. There are so many amazing one of a kind prints in this collection, it is such a good exhibition for documenting the history of the medium and the presentation of the collection by the MFA staff is perfect. It is as good an exhibition design as I have seen. I think the best way to approach sharing this with you here is to start posting my photos of the exhibition in groups and just make comments about them.

While drafting this post, one interesting thing I learned about the MFA collection was it began in 1924 when Alfred Stieglitz donated 27 of his photographs to the Museum. The collection now includes approximately 15,000 photographs

The short video accompanying the exhibition was perfect. I loved hearing Howard explain the importance of the different items in the exhibition then being able to go look at them on the walls. The MFA also included quotes with the titles next to the prints which was good too, but seeing the video then going to see the prints he talked about was the best way to experience things. I have looked for this video on line and have not been able to find a link to it. These three still his opinion on the importance of making prints not just capturing images.

The above images show how the exhibition prints were grouped under themes.

Gloria Swanson, 1924 , by Edward Steichen (1879-1973)

Steichen’s print of Gloria Swanson is one of the most beautiful prints I have ever seen. It is also one of Howard’s favorite prints as he describes in the video. in person it is truly amazing.

Above - examples of personal prints photographers made

The exhibition had images I was not familiar with before like the Winogrand and Frank prints above. I really found the Frank print interesting. His “Americans” series was so important in the history of the medium, to see an image he took when he was on his way here to do the project is incredible. I envision him “sharpening the saw” some knowing about the journey he was about to embark on.

The concept for displaying iconic images with their press notes and publishing stamps visible was brilliant. I loved being able to see both sides of these prints, the small wall cut out and the dual glass frame was perfect.

The Henri Cartier-Bresson print below was pretty incredible too. I was familiar with the image, and to see what is the very first print of the image is so special. Enjoyed the story of how Howard confirmed this was Henri’s first print and the path it took to get in to Howard’s collection.

More amazing Steichen prints below. Where Instagram and other social media platforms, like this blog, are fantastic to share information to broad audiences quickly there is also a downside in that many photographers today do not fully understand the medium, especially what a fine print really is. I have written about it before, to truly understand what a good print is you have to view good prints. In person, slowly, and by examining every detail. Unfortunately this can not be accomplished in 2 to 3 second digital views.

After the Steichen print of Gloria Swanson , the two prints below were probably my favorite prints in the exhibition. W. Eugene Smith’s printing skills were amazing, I remember seeing his working prints of the Jazz Loft Project on display at MoPA in San Diego and I was in awe of how beautiful his working prints were. The display in that exhibition was also perfect. I am so glad his archive is also at the Center of Creative Photography where it will properly cared for and shared.

The Diane Arbus print was good to see. I remember seeing her own enlargements years ago and they were not clean. So much dust on the negatives that it was distracting, and no where close to the images which professional printers produced. To see this smaller print which you know she made was another special experience.

Although I have long been familiar with this famous Lewis Hine image and how important it was for bringing about change, I think this is the first time I have seen this print in person. Powerful experience to view it.

Below is a selection of other prints in the exhibition which stood out to me.

I am very thankful that Howard Greenberg donated this collection to the MFA. First so I could see the prints exhibited in this format, which again was an outstanding presentation, but more importantly to assure that such an amazing part of the history of the medium will be preserved together in an institution like the MFA.

I found the following articles on the exhibition which may also be of interest:

Howard Greenberg Gallery Statement

Wall Street Journal

The Guardian

As a photographer there is always value in looking at prints by the Masters in the history of photography. Especially prints such as these in this exhibition which truly all are Iconic images. Garry Winogrand is my favorite photographer, I take every chance I can to see his prints and I am glad he was included. Weston was such a master printer, for me seeing his work is a spiritual experience. I remember being at one of the first Photo LA events (around 1993?) and picking up a Weston print of a pepper which was sitting in an open bin with other prints (all were matted). At the time it was a $5,000 print, and it was so powerful to look at every detail of the image and realize Weston also did the same thing when he made this print. I liked both Weston prints in this exhibition and was again in awe of his printing with the Charis Wilson - Nude on Sand print. I recognized every image in this exhibition and appreciated all the information each accompanying title card had about the image. This exhibition was well curated and one thing I really liked was that everyone who saw the exhibition probably came away with some new knowledge about photography, I know I did. The images were somewhat eclectic but their stories were all so unique that they became very concise when displayed together.

Rich and Poor by Jim Goldberg 1978-1983 (printed 1984) 30 images

I was sitting in Bill Jay’s class at Arizona State University when I first saw Jim Goldberg’s series Rich and Poor. It was probably 1986 just after the series came out. It was powerful and to this day I still remember some of the saw there, most notably the photograph of Larry J. Benko and his son where Larry described himself to be too “rough” of a father for his son David who he called “Fragile”. Today, as I was then, I am amazed of how Jim Goldberg was first able to get people to pose for portraits in the privacy of their homes but then how he was able to get these people to open up so much and be completely transparent about their lives and their opinions of themselves. This series is a fantastic document, it powerful, and it truly is thought provoking. Combining text on prints is also not as simple as it seems. While at ASU I remember several classmates and a professor trying to produce bodies of work in that style, obviously emulating Goldberg’s work, and they didn’t work. The series Rich and Poor allows the viewer to seriously consider what really is valuable in life. I have had the book in my collection for a long time and seeing this has inspired me to revisit it. The images, and text, are truly powerful both individually and as a group. I thought the decision to display the prints on walls of a entry hallway for the museum was brilliant. The prints weren’t tucked back in a gallery room but they were right out there in the open for everyone who passed by to stop and see. Much like the people in the photographs who were allowing their own stories to be told, they were putting themselves out there for everyone to see. Once again another good photography exhibition at The Art Institute of Chicago.