Robert Bergman @ National Gallery of Art — Washington DC

“Portraits” til Jan 10

Robert Bergman takes something that we would rather not look at, the forgotten people of our society, and makes it strangely beautiful. 

At first, one can’t help but be taken in by the subject of these photographs.  They seem to be mostly transient and down and out persons, the are the kind of people who most of us go out of our way to avoid, but they are not.  Amoung the collection on view at The National Gallery of Art are three artists, a couple of actors and daughters of wealthy people.  It’s not easy to tell who is who.   

At first glance, I categorized this as documentary photography of everyday people.  A long photography tradition that includes:  Margret Bourke-White, Walker Evans, Diane Arbus and most notably, Robert Frank.  But Bergman insists he is not a documentarian, but rather an artist and I’m inclined to agree with him.

It’s obvious that the photographer has connected with his subject.  The look on their faces attest to a lack of contrivance.  Often distant, sad and pained, one gets the sense that we’ve been given a peek into their souls, as if their lives flash before their own eyes in the click of Bergman’s camera.  This is no easy accident and Bergman has dedicated decades to the results seen here.

Yet, the most curious element about these portraits is how formally beautiful they are.  How does Bergman make sadness seem so beautiful? 

We are not given signifiers that tell their stories.  There are no props or glimpses of their surroundings to infer to us who they are.  We see just the individual from the shoulders up.   (The photograph above is the exception, but perhaps more clearly illustrate Berman’s artistry.)  A key element of their appeal lies is the wonderful artistry of the lighting and colourful backgrounds. 

The rest of us should be so lucky to be on the other side of Bergman’s lense.  The lighting is natural, but somehow soft and flattering.  The colours are rich and saturated as if painted on.  If you squint and stop focusing on the person in the photograph, you will see what I mean.  They are very painterly indeed.

For a wonderful collection of essays on Bergman’s work check out:  Brooklyn Rail