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Commentary
Ken Johnson — New York Times, May 12-26, 2006:
“This excellent exhibition of works from 1974 to 2000 surveys
the career of a photographer with a keen eye for human individuality
and a pitch-perfect sense of composition. Her art bears a family resemblance
to that of Diane Arbus, but it is gentler and kinder.”
Randy Kennedy – in Art and Architecture, New York Times, May 7,
2006:
“Taking up her camera for the first time when she was 38,
Ms. Solomon studied privately with Lisette Model and came into her
own in the 1970’s working in the postmodern noir-ish tradition
of artists like Diane Arbus and Larry Fink…”
The New Yorker, May 29, 2006:
“Like Diane Arbus and Lisette Model (who was Solomon’s,
as well as Arbus’s teacher), Solomon makes no apparent effort
to ingratiate herself with either her subjects or her viewers. The
twenty-two black-and-white portraits in her welcome new show were
made between 1974 and 2000 and share an inquisitive, almost anthropological
approach that is determinedly unsentimental but not unsympathetic.
She regards a young man whose face is splotched with lesions of Kaposi’s
sarcoma, a pregnant panhandler, a gaggle of gray-haired Princeton
alumni and several remarkable children with a volatile mix of caution
and concern.”
Vince Aletti in Photograph magazine:
“The first comprehensive overview of Rosalind Solomon's work
is a moving record of a 30-year journey of discovery by a photographer
whose commitment to her own flinty, humanist vision places her, as
Ingrid Sischy writes in the introduction, among an 'endangered species.'
Organized poetically, Solomon's book embraces her subjects with unusual
warmth—a combination of candor, curiosity, concern, and almost
helpless yearning.”
Chapalingas was one the Village
Voice's Top
Twenty Photo Books of 2003
Review of Chapalingas in Art on Paper,
Sept./Oct. 2003.
Peter Galassi — commenting on Rosalind Solomon
in her solo exhibit Ritual at the Museum of Modern Art, 1986:
“For Solomon, the extravagant public theatre of ritual is an
expression of private feelings and struggles, which she invites —
or compels — the viewer to share. Her ability to do so depends
on the keenness of her perceptions and the relentless clarity and
detail with which she records them.”
Up Close and Personal in London's
The Telegraph Magazine, Oct. 18, 2003
Portraits/Visages 1853 - 2003, Bibliotheque
nationale de France/Gallimard
Fur across the Heart,
Manfred Zollner, Fotomagazin 7/2003
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