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	<title>Comments on: On View Now &#124; Arresting Development: Rineke Dijkstra&#8217;s Retrospective Exhibition</title>
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	<link>http://blog.art21.org/2012/08/02/on-view-now-arresting-development-rineke-dijkstras-retrospective-exhibition/</link>
	<description>The Official Blog of Art21, Inc. and the &#60;i&#62;Art in the Twenty-First Century&#60;/i&#62; PBS series</description>
	<lastBuildDate>Wed, 19 Jun 2013 17:47:11 +0000</lastBuildDate>
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		<title>By: The Teen-Girl Tumblr Aesthetic &#124; Nick Socrates Contemporary Art</title>
		<link>http://blog.art21.org/2012/08/02/on-view-now-arresting-development-rineke-dijkstras-retrospective-exhibition/comment-page-1/#comment-61685</link>
		<dc:creator>The Teen-Girl Tumblr Aesthetic &#124; Nick Socrates Contemporary Art</dc:creator>
		<pubDate>Fri, 01 Mar 2013 19:51:41 +0000</pubDate>
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		<description><![CDATA[[...] x 94 cm. (Courtesy the artist and Marian Goodman Gallery, New York and Paris. © Rineke Dijkstra, via), and right, Tracey Emin, &#8220;Hellter Fucking Skelter&#8221; (2001) (image courtesy White Cube, [...]]]></description>
		<content:encoded><![CDATA[<p>[...] x 94 cm. (Courtesy the artist and Marian Goodman Gallery, New York and Paris. © Rineke Dijkstra, via), and right, Tracey Emin, &#8220;Hellter Fucking Skelter&#8221; (2001) (image courtesy White Cube, [...]</p>
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		<title>By: Exhibition: &#8216;Rineke Dijkstra: A Retrospective&#8217; at the Solomon R. Guggenheim Museum, New York &#171; Art Blart</title>
		<link>http://blog.art21.org/2012/08/02/on-view-now-arresting-development-rineke-dijkstras-retrospective-exhibition/comment-page-1/#comment-54511</link>
		<dc:creator>Exhibition: &#8216;Rineke Dijkstra: A Retrospective&#8217; at the Solomon R. Guggenheim Museum, New York &#171; Art Blart</dc:creator>
		<pubDate>Sun, 30 Sep 2012 03:22:10 +0000</pubDate>
		<guid isPermaLink="false">http://blog.art21.org/?p=68014#comment-54511</guid>
		<description><![CDATA[[...] Max Weintraub notes that Dijkstra has produced, &#8220;a set of carefully balanced compositions defined by the central, monumental presence of her youthful subjects. The classical simplicity of Dijkstra&#8217;s photographs focuses the viewer’s attention on the subtle particulars: the teens’ gawky, angular bodies, ill-fitting swimsuits and awkward postures&#8230; Her subjects hover somewhere between the receding past of their childhood and an unknown future. And while the identity of her subjects remain anonymous &#8211; each beach photograph is only identified by date and location &#8211; when viewed together a collective body emerges, one that stirs restlessly between the last physical and emotional trappings of youth and the social and psychological pressures of pending adulthood. The individuals depicted are so powerfully distinct that the effect of seeing these portraits en mass is symphonic, and the images begin to collectively hum with the sounds of the construction of self &#8211; its awkwardness, its uncertainty and above all, its heartbreakingly tender beauty.&#8221; [...]]]></description>
		<content:encoded><![CDATA[<p>[...] Max Weintraub notes that Dijkstra has produced, &#8220;a set of carefully balanced compositions defined by the central, monumental presence of her youthful subjects. The classical simplicity of Dijkstra&#8217;s photographs focuses the viewer’s attention on the subtle particulars: the teens’ gawky, angular bodies, ill-fitting swimsuits and awkward postures&#8230; Her subjects hover somewhere between the receding past of their childhood and an unknown future. And while the identity of her subjects remain anonymous &#8211; each beach photograph is only identified by date and location &#8211; when viewed together a collective body emerges, one that stirs restlessly between the last physical and emotional trappings of youth and the social and psychological pressures of pending adulthood. The individuals depicted are so powerfully distinct that the effect of seeing these portraits en mass is symphonic, and the images begin to collectively hum with the sounds of the construction of self &#8211; its awkwardness, its uncertainty and above all, its heartbreakingly tender beauty.&#8221; [...]</p>
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		<title>By: Article: On View Now &#124; Arresting Development: Rineke Dijkstra’s Retrospective Exhibition &#171; design theory</title>
		<link>http://blog.art21.org/2012/08/02/on-view-now-arresting-development-rineke-dijkstras-retrospective-exhibition/comment-page-1/#comment-46810</link>
		<dc:creator>Article: On View Now &#124; Arresting Development: Rineke Dijkstra’s Retrospective Exhibition &#171; design theory</dc:creator>
		<pubDate>Wed, 15 Aug 2012 05:49:20 +0000</pubDate>
		<guid isPermaLink="false">http://blog.art21.org/?p=68014#comment-46810</guid>
		<description><![CDATA[[...] On View Now &#124; Arresting Development: Rineke Dijkstra’s Retrospective Exhibition http://blog.art21.org/2012/08/02/on-view-now-arresting-development-rineke-dijkstras-retrospective-ex... [...]]]></description>
		<content:encoded><![CDATA[<p>[...] On View Now | Arresting Development: Rineke Dijkstra’s Retrospective Exhibition <a href="http://blog.art21.org/2012/08/02/on-view-now-arresting-development-rineke-dijkstras-retrospective-ex" rel="nofollow">http://blog.art21.org/2012/08/02/on-view-now-arresting-development-rineke-dijkstras-retrospective-ex</a>&#8230; [...]</p>
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