By the time he was done, he had accumulated no fewer than 26,754 photographic items. The uncategorizability of the collection reflected that of photography itself.Wagstaff’s holdings ranged in date from the 1830s to the 1970s, taking in everything from classic art photographs to images used as medical illustrations, the work of photographers famous and photographers anonymous.He grabbed her by the back of her neck, pulled her over, dropped her on the ground, pulled her up by her hair, and said “Do you want me to hit you.” When she didn’t respond, he hit her in stomach area about 4 or 5 times repeatedly.After everyone yelled at him, he hand cuffed her, put her against a wall.
No less important, Wagstaff did more perhaps than any other individual to demonstrate the acceptance of photography as a fine art.Where he brought a curator’s eye to his collecting, she brings a practitioner’s.The show includes two of her own pictures, one of Venice and an especially fine one of the train station at Theresienstadt, site of the Nazi concentration camp.Or that Warhol photo-booth strip and Sylvia Plachy’s 1973 portrait. The serendipity is fun, but the images are what matter. A trio of bare-chested children (Sally Mann), a bare-chested Muhammad Ali in the ring (John Goodman), and a bare-chested self-portrait by the singer Graham Nash?Richard Avedon’s “Chicago Seven” and a Paul Outerbridge nude? Like Wagstaff, Lauder knows what she knows, and you’re glad to encounter the fruits of that knowledge.
Another of those early photographs is Francis Frith’s “The Second Pyramid from the Southeast.” It affords one of several chimings with the nearly three dozen pictures in “Artist’s Choice: Photographs from the Judy Glickman Lauder Collection.” The show runs in Portland through May 29The chiming is with Richard Misrach’s “Road Blockade and Pyramid,” taken 130 years after Frith.