The last death of the great Martin Parr reminded us that the best practitioners of photography tend to maximize everything about the medium that makes it unique. Parr called his photos of Brits dispersing “subjective documentary”, which is what I’m trying to describe: the non-fiction of the subject merges with the hand of the person taking the picture through lighting, composition, focus, etc. The recently closed exhibition by Ken Ohara at the Whitney Museum of American Art, in which he sent cameras into random homes in the 1970sit provides a much better view of the person behind the camera than whatever it is they’re shooting.
Ming Smith (b. 1947) is another photographer who seemed to enjoy both the subjective and documentary aspects of photography, and her understanding of both elements is on display in “Jazz Requiem—Notations in Blue,” a new exhibit at the Portland Art Museum. The show collects work from the Detroit-born photographer’s travels in Europe in the 1970s and 1980s, capturing nightlife in both its grit and glamour.
An excellent example of this mixture is visible in Baroque Opera (Italy), (1980). The composition here is wonderful, giving the feeling of the Leaning Tower of Pisa – an excellent photo of which is featured in this show – because you first notice the grandeur of the friezes that decorate each balcony. Then you notice how everything is at a slight angle and what’s more, inside the balconies are all these people, long-haired aesthetes who talk about the show and give chaotic life to the ancient feeling. Those at the lowest level are looking up to Smith, further drilling the suitability of the environment. Is this also allowed?
Although excellent at capturing these broad scenes of life, her portraits of people are pleasing The sun fell AND Pharoah Sanders are able to dig deep. IN Judith Jamison (1981) she captures dancer Alvin Ailey by a sunny window in the surrounding darkness. It can be another oblique and ornate structure, because it is leaning against the glass with a thin but intricate dress. The strongest part of this building can be found at its peak. The expression on that face is just as strong, if open to cooperation.
Not sure what exactly is going on Social Distancing, (1974)but it shows a group of people in papier-mâché masks, apparently celebrating carnival, perhaps in France. Not knowing the details is fine because this photo is all about her mastery of light and dark. The centerpiece is an ethereal bride in white. She wears a funeral-style human mask with closed eyes under a tuft of threadlike hair. In another context, she might be scary, but she is contrasted with the darkness of a nearby tent and the strangest costumes, and thus she is a source of pathos. Her hand takes the hand of another monster, and you’re really rooting for these two crazy kids.
“Ming Smith: Requiem Jazz-Notes in Blue” is on view at the Portland Art Museum through June 7, 2026.
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