The photographs are of pairs—mostly, but not always human—that display or imply elusive connections of mind, of spirit, or of simply of the act of being.
In Pinney exhibited her Portraits of Evanston Artists at the Evanston Art Center, followed by series of large black and white portraits of family and friends, "Remembrances. Organized by Peter Galassi, curator, Department of Photography. The earliest works included are by William Eggleston, whose mundane household scenes—an open oven or the view beneath a bed—are charged with feeling.
Pleasures and Terrors of Domestic Comfort presents a varied and challenging cross-section of contemporary work, all of it devoted to life at home. Emma is now twenty one years old; the photographs span over a decade from to and continuing.
Photographs of brides, their mothers and attendants made during these wedding assignments signaled the beginning of the "Feminine Identity Series". The exhibition surveys this development in approximately pictures, a majority of them in color, by about seventy artists.
In these pictures Pinney portrays the uneasiness of that emergence in the struggle to fit ideal dresses to real bodies,  proper etiquette to ebullient energies and appetites, natural companionship to formal conversation as the girls prepare themselves for the rest of their lives.
At the opposite end of the artistic spectrum are the staged or fabricated pictures of Ellen Brooks, Jo Ann Callis, Cindy Sherman, and others. As a man searches the refrigerator in a picture by Philip-Lorca diCorcia or as a couple play a late-night game of cards in a work by Carrie Mae Weems, our sense that the scene has been concocted only draws us deeper into its drama.
While the exhibition makes no attempt at sociological objectivity, the many voices it assembles have much to say about life in the eighties. The exhibition concludes with a suite of pictures that take snapshots and family photographs as their theme. Between these divergent poles, several photographers subtly and often mischievously blend reality and fantasy, provoking viewers to imagine the stories behind their pictures.
A year after her birth the Pinneys moved to Scarsdale, New York. Perhaps in part because the baby-boomers have reached the age of parenthood, children figure prominently in the exhibition. Photographs include children at play, aging friends, parent and child, couples in love, two nesting tea cups, twin teen-age boys, two chairs in autumn, among many others.
After they had worked for a while, many also realized that the overlooked opportunity was also a rich one, full of uncharted mysteries.
In a photograph by Bruce Charlesworth, an archetypical ordinary guy studies the want-ads at breakfast. She accepted commissions photographing weddings and parties, and started shooting in color for these jobs.
Arranged thematically, Pleasures and Terrors of Domestic Comfort explores the settings, rituals, and moods of domestic experience.Pleasures and Terrors of Domestic Comfort presents a varied and challenging cross-section of contemporary work, all of it devoted to life at home.
While the exhibition makes no attempt at sociological objectivity, the many voices it assembles have much to say about life in the eighties. Sep 27, · "Pleasures and Terrors" is the first attempt by the museum to deal with the diversity of photography in the 80's.
Yet to strengthen the links between the modernist and post-modernist camps, Mr. Galassi must glide over certain key differences that diminish the significance of the post-modernists. The photographs are laid out in short sequences, with an essay placed between each sequence.
The essays by the contemporary writers, Billy Collins, Edwidge Danticat, Elizabeth Gilbert, Pleasures and Terrors of Domestic Comfort. Museum of Modern Art. Education, The Museum of Modern Art, 11 West 53 Street, New York, NY On view through December 31, PLEASURES AND TERRORS OF DOMESTIC COMFORT is supported in part by a grant from the National Endowment for the Arts.
Laura Letinsky is a Professor in the Department of Visual Arts. White Columns Gallery, New York, NY; The Body Photographic, New Orleans, LO, and; The Pleasures and Terrors of Domestic Comfort, The Museum of Modern Art, NYC. The work has been published in White Columns GalleryMirror Paradox, and Critical Inquiry.
The Pleasures and Terrors of Domestic Comfort [Peter Galassi] on mint-body.com *FREE* shipping on qualifying offers. Nice collection of sinister and not so sinister photos of domestic scenes. Peter Galassi is Chief Curator in the Department of Photography at The Museum of Modern Art.5/5(1).Download