The Space Between: Redefining Public and Personal in Smartphone Photography CENTER FOR PHOTOGRAPHY AT WOODSTOCK WOODSTOCK, NEW YORK JUNE 28-SEPTEMBER 15, 2014 Photography now marches in lockstep with smartphones, and engages all the Imagemaking possibilities (democratic, social, individualistic, narcissistic) that smartphones invite--although might not notice this turn when visiting most contemporary photography shows. This past summer, however, the exceptional group exhibition at the Center for Photography at Woodstock, The Space Between: Redefining Public and Personal in Smartphone Photography, offered a surprising corrective grounded in the ways photographers actually capture images in the present, fluctuating moment where so much of art, photography, communication, and documentation is contested and political. What's more, the show sowed fertile ground for the progressive moves ahead in photography, and in the ways we picture ourselves. The Space Between was curated by Henry Jacobson, a photographer invested in the uses and abuses of mobile photography. It featured the work of seven photographers and two collectives, installed throughout the large gallery space in three separate groupings: personal space, public space, and hyper-space. Thus installed, the work of the seven individual photographers documented the current moment in digital, hyper-democratic, individualist photography--in which one's take in and of the viewfinder is both necessary and sufficient for a picture--and pushed well beyond it. Jacobson curated his own painterly diptychs into the show: personal notes to his friends and family, sent off like photo postcards from his recent three-year nomadic travels. The other individual photographers in the show--Chip Hinterland, Florence Oliver, Kerry Payne, Mark Peterson, Sofia Verzbolovskis, and Laura El-Tantawy--together covered, from wall to wall, the private, political, and historical bases of contemporary photography. Oliver stood from the other photographers: a painter who uses photographs as sketches, she captures the painterly pictorialist tradition that once grounded photography. The past covered and the present counted, the show looked ahead and featured prints from Instagram. That move suggested what many already think: online, shared imagemaking is the next step in the story of photography. Indeed, it was the work of the two collectives, Echo/Sight (a collaborative duo) and Tiny Collective (a decentralized outfit spread across much of the world now roiling and boiling in images), that, playing off Instagram and Dropbox, seemed to challenge the monopoly doctrine of one person, view, machine, The two collectives showed collaboration as the path ahead for socially engaged photography--that is, if photographers dare risk their time traversing that path. The Egyptian-born El-Tantawy's work reflects her myriad interests and commitments. A trio of Instagrammed photos--Foces of a Continuing Revolution--Cairo, Egypt 26/6/2013 (2013), Outside My Window (2013), and Where Do We Go From Here?--Cairo, Egypt, 11/1/2013 (2013)--read like reflections on the recent and utterly confounding Arab Spring in Egypt. They promised the content of a conversation we might have someday about the facts out there. Peterson's work documented the course of recent politics in caricatured portraits of renowned public officials. The iPhone app distortions of Hillary Clinton and New Jersey Governor Chris Christie recall Honore-VIctorin Daumier's political cartoons and Leonardo da Vinci's fantastic grotesques. The critique here isn't cutting as much as historical: this happened, and then that happened on the campaign trail. Looking at the pictures, wished politics weren't structured the way they are, that our leaders had more integrity, that they were less farcically corruptible people. There was little of the portraiture-as-glamour-shtick of Richard Avedon's and Irving Penn's work, and that felt like an appropriate stance to take on the contemporary captured and coerced image. …