Landscape masters such as Ansel Adams celebrated the conquest of the American West in black and white while seminal portrait photographers such as Edward Steichen invariably objectified the female body.
In a pristinely printed series of large black-and-white photos, Blackwood deftly undoes all that history of the male gaze.
Blackwood doesn’t come to her critique flippantly. For several years she has been carefully mapping visual strategy with considerable elegance and wry conceptual dashes in several previous series including “Naked Lady: A Dot Red” and “The Boys of Collodion,” both of which were on view two years ago at Photo Méthode.
For “Prix West” Blackwood once again uses a large-format view film camera, this time training her lens on a young male nude figure, staging him with much attention to composition in the rugged desert mountain landscape. Printed in luscious and large-scale black-and-white, Blackwood augments each scene with a translucent light pink shape of one kind or another.
Conceptually, the pink orbs, lines and boxes acts as guides, steering the viewer’s gaze to the essentialness of the scene — that is, a nude, youthful male figure in the landscape.
However, in very delibrae break from male photographers of the past (and with a wink in pink, too), Blackwood’s gaze contains a knowing sympathy of what — and who — her lens captures.
“Prix West” continues through Feb. 28 at Photo Méthode Gallery, Flatbed building, 2832 E. Martin Luther King Jr. Blvd. photomethode.com