Pho­tos that shake up shut­ter speed

The click of a cam­era’s shut­ter— of­ten last­ing no more than a sec­ond— pre­serves a mo­ment in time. A new ex­hi­bi­tion, how­ever, demon­strates how that mo­ment may be stretched out, span­ning cen­turies, in some cases, or ex­pand­ing ex­po­sure times to hours or days

The Washington Post Sunday - - THIS WEEK - BY ROGER CATLIN style@wash­ Catlin is a free­lance writer. The Mem­ory of Time: Con­tem­po­rary Pho­to­graphs at the Na­tional Gallery of Art Through Sept. 13 at the Na­tional Gallery of Art, Con­sti­tu­tion Av­enue and Sixth Street NW. 202-737-4215. www.nga


Num­ber of works in the ex­hi­bi­tion, all ac­quired with the as­sis­tance of the Al­fred H. Moses and Fern M. Schad Fund, and all be­ing shown here for the first time.


Num­ber of sec­tions in the ex­hi­bi­tion: “Traces of His­tory,” “Time Ex­posed,” “Mem­ory and Ar­chive,” “Fram­ing Time and Place” and “Con­tem­po­rary Ru­ins.”


Span of years over which works in the show were cre­ated.


Num­ber of 15-by-131/ 2- inch am­brotypes that com­pose Sally Mann’s se­ries “Un­ti­tled (Self Por­traits).”


Num­ber of da­guerreo­types in the show, by Chuck Close, Binh Danh and Adam Fuss.


Num­ber of years be­tween the 1864 im­age of the Taj Ma­hal by John Mur­ray and the dig­i­tally ma­nip­u­lated da­guerreo­type print of it made by Adam Fuss in 2012.


Days of ex­po­sure on pho­to­graphic pa­per from a cam­era ob­scura to cre­ate Vera Lut­ter’s “Ca’ del Duca Sforza, Venice II: Jan. 13-14, 2008.”


Num­ber of years be­tween the orig­i­nal neg­a­tives used by Linda Con­nor in her “July 23, 1903, 2002” and the gelatin sil­ver print the artist made from them.


Years that Su­san Meise­las tracked the growth of a 1979 Nicaraguan pho­to­graph that be­come a rev­o­lu­tion­ary icon in her in­stal­la­tion “Molo­tov Man, 1979-2009.”


Num­ber of early-20th-cen­tury African Amer­i­can fe­male per­form­ers de­picted in Car­rie Mae Weems’s 2010 work “Slow Fade to Black II” de­not­ing their dis­so­lu­tion into cul­tural ob­scu­rity.


Pen­nies in var­i­ous states of de­cay and dust de­picted in Moyra Davey’s se­ries “Cop­per­head.”


Pho­to­graphs of re­cently con­structed homes that have be­come ru­ins in the desert of South­ern Cal­i­for­nia’s An­te­lope Val­ley that are part of Mark Ruwedel’s se­ries “Dusk.”


Width, in inches, of Chris­tian Mar­clay’s 2009 cyan­otype de­pict­ing un­spooled cas­sette tapes, “Allover (A Gospel Re­u­nion).”


Ex­hi­bi­tions cel­e­brat­ing the 25th an­niver­sary of the Na­tional Gallery of Art’s photography col­lec­tion. “In Light of the Past” is on dis­play through July 26. “Re­cent Gifts” opens Nov. 1.

Nearly 15,000

Num­ber of works in the Na­tional Gallery of Art’s photography col­lec­tion.


DavidMaisel re-pho­tographed x-rays for “His­tory’s Shadow.” The se­ries and other works that play with per­cep­tion of time are at the Na­tional Gallery of Art.

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