The gamecock. (Columbia, S.C.) 1908-2006, March 19, 1980, Page Page 14, Image 16
Visions
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notion of surface.
If Rubin's photographs of landscapes
create a tangible, tactile
space, her wildlife photos project
an uncanny intimacy.
In "Little Bittern Chick", it is as
if the viewer has suddenly stum
bled upon a private world, a world
generally closed to the bumbling
feet of man. "Conies" also has this
feeling, but here we've been
spotted, and now catch the glaring
return of questioning, apprehensive
eyes.
NOT ALL OF Rubin's wildlife
photos possess such a one-to-one
relationship, there are also a few of
the all too familiar stereotypes of
birds in flight or galloping
mammals. Yet a work like "Grey
Heron" is a fascinating twist on an
old frame, for here we are
nrespntfd with lifprnllv nothing
but the animal and his reflection.
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With the exception of but two
symmetric slices of river bed, the
creature becomes a kind of stoic
icon of the perfection of nature.
A Til I HI) GROUPING of work
deals with wildflowers native to
Israel. Here Rubin concerns
herself primarily with color, as in
works such as ''Hollyhock and
"Anemone (2)". In the former, the
extreme close-up causes the flower
to consume the entire space, with
reflections of light that seem to
spring from the very pores of the
petals.
Gail Rubin will not be remembered
as a "great" photographer,
yet she should be noted for working
with something most naturalists
with cameras never even consider,
the personality behind the lens.
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