Rosalind Solomon

Yesterday I was introduced to the work of Rosalind Solomon. Her photography contains street shots that exist in an unnamed sweet spot: somewhere between candid photos of strangers and posed photos of friends. (What is that called?) The photos suggest the powerful intimacy of the latter, while keeping the subject at arm’s length. The obscurity of Solomon’s relationship with her subjects only strengthens the pictures.

They wowed me.

She had a show this spring at Foley Gallery in NYC, and there’s a book that contains some of that work, from Stiedel in 2003. Here’s a gallery on her site that contains that work.

She shoots black and white, and it’s all Hassleblad, often with flash. The prints I saw were exquisite, in both printing and camera technique; all were unaffordable, but if I were a collector, I’d snap that stuff up. She’s spent a lot of time in South America, Africa, and recently, Poland. Her photos are global, but they’re unified by her consistency of vision and technique. I feel lucky to have had an up-close gander.

Take a look.

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