In our busy lives, there is almost no time to sit back and watch the trees blossom. We are continually rushing to and fro between classes, errands and if there's time, our social lives. Every piece of technology produced helps to hurry time, so one can cram even more activities into a short 24-hour block. Sometimes, it is just necessary to step back from the melee of life and observe the rush.
Photographer John Goodman does a wonderful job documenting the whirlwind of activity in America. Currently showing at the Howard Yezerski Gallery, "John Goodman: Moving Pictures" is a small photography exhibit that allows us to separate ourselves from our hectic lives.
A Boston resident, Goodman has been exhibiting for over 30 years. Museums such as the Museum of Fine Arts, Boston and the Art Institute of Chicago have his photographs in their permanent collections. In addition, Gucci, Puma, Ungaro and other companies have commissioned Goodman's photography. It comes as no surprise then that the quality of the photographs is impeccable. Good composition, contrast and originality are all present.
In "Time Squared," no object is in focus. All that exists is a blur, but one can make out a fuzzy lady briskly walking with an oversized handbag and sunglasses. The blurriness of the photograph emphasizes the pedestrians' movement. Since nothing is focused, nothing is still. People move so quickly that only the general outlines result and details are lost in the hustle and bustle. It is not a shock that the pace of life moves so rapidly in Times Square, but it is slightly unnerving that facial features are somewhat lost. The individuals have vanished and in their place the general, faceless people seem to say, "That could be you."
Goodman continues to photograph in such a way that the faces are lost. "Father's Day, Coney Island" depicts a couple intertwined on a beach blanket. The lady covers both of their heads with a towel. Unlike "Time Squared," "Father's Day, Coney Island" is in perfect focus.
Even individual grains of sand are visible. The angle of the picture is unique, as well. Taken from above, the photograph channels a feeling of someone quickly passing by the loving couple. In fact, Goodman's shadow creeps onto the print in one of the corners as if he is walking by them. The rumpled blanket, reminiscent of sand ripples on the beach, further evokes a feeling of movement.
In addition to photographing urban and beach life, Goodman also documents suburban life. "Robert's, Nashville" is particularly stunning. It depicts an empty café scene in the South, complete with cowboy boots lining the shelves in front of the windows.
The café tables are eerily silent, a feeling magnified by the high contrast. The sunlight streaking through the window is blinding, yet the tables, chairs and ceiling are almost pitch-black. The only middle tones are the large Budweiser banner and the ambiguous blurry shape on the left hand side.
Like the other two photographs, the blurry object is a faceless human. In fact, his head is not even captured by the camera. In his rush to get to his destination, the human completely passes by the empty café. Like many people, he can't stop moving to appreciate his culture. Perhaps the photo is trying to say slow down and take a breather, even if only to appreciate Americana or how light shines through glass.
Through his vivid photography, Goodman presents a facet of human life. He reveals that at the high velocities of life, many people fail to observe their culture, environment and even other people. Goodman, a versatile photographer, captures many instances of movement that one may have missed in everyday life, too busy to notice.
