Gregory Colbert’s one man exhibition Ashes and Snow will close on June 8th and those who haven’t yet visited it might want to check it out. However, one might characterize the show as an exercise in self-aggrandizement. In fact, it seems that the exhibit sets a record in art promotion and marketing; which is probably the best or the worst thing about it, depending on how you look at it. Many of you may have noticed giant billboards, small ads outside the subway station, inside the subway, television clips, and even “coming attraction” previews in movie theaters! This of course begs the question of whether the show sets a new standard for organizing a blockbuster show. I would like to suspend my judgment on whether Colbert deserves such attention.

You can visit the show’s official website (www.ashesandsnow.org) to view the photos and supplementary materials. The photographs themselves, simple in composition and low in contrast, evoke a quiet meditative mood but quickly become repetitive and derivative of 19th century photographs taken during various expeditions as well as those taken by Richard Avedon, Irving Penn, Peter Beard, etc. Colbert’s work indeed attempts to evoke something akin to Zen meditation practices; the photographs are printed on handmade paper using some exotic printing method. However the actual working methods are not stated anywhere on any exhibition materials or in Colbert’s interviews. I happened to find out from a person closely involved with the show (advisors to the chairman of Rolex Inc.) that Colbert didn't print anything himself. Instead, he just FTP'ed digital files to a printing shop in Italy. So much for all the attempts to create a sense of “authenticity” (i.e. an original piece of art made by the hand of artistic genius) and the photographer’s presumed involvement with materials.

Video is probably the best part of the show, but in many parts, ends up looking like a sepia-toned version of the Nature/Wildlife channel. Moreover, the narration is of questionable quality.

The building designed by Shigeru Ban is an interesting example of sustainable architecture. While the outside fuses organically with its surroundings (i.e., Navy Pier), on the inside, it is a combination of a gothic cathedral’s soaring vaults and warehouse-like walls with Egyptian overtones. The message sent by this spacious “cathedral” isn’t fully congruous with the message of simplicity contained in body of work inside. In addition, walls made of shipping containers, dispel the mystery of the photographs that appear to levitate in the midair. So in its entirety the exhibit doesn't function very well as an installation piece. That is why critics didn't even discuss it in such terms. Exhibition’s hefty 12$ entrance fee doesn’t make things any better. Hopefully those visitors leaving in their SUVs would feel some kind of relief that the proceeds from this show would aid in conserving endangered wildlife. It is unfortunate that a show whose premises are myth and beauty would turn out to be such a disappointment.

Jessica D.
June, 2005