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Rineke Dijkstra, Hilton Head Island. Courtesy the artist and Marian Goodman Gallery, New York & Paris; © Rineke Dijkstra

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Courtesy the artist and Marian Goodman Gallery, New York & Paris; © Rineke Dijkstra

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Courtesy the artist and Marian Goodman Gallery, New York & Paris; © Rineke Dijkstra

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Shany, Palmachim Israeli Air Force Base, Palmachim, Israel, October 8, 2002. Courtesy the artist and Marian Goodman Gallery, New York & Paris; © Rineke Dijkstra

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Almerisa, Asylum Center Leiden, Leiden, the Netherlands, March 14, 1994. Courtesy the artist and Marian Goodman Gallery, New York & Paris; © Rineke Dijkstra

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Almerisa, Wormer, the Netherlands, February 21, 1998. Courtesy the artist and Marian Goodman Gallery, New York & Paris; © Rineke Dijkstra

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Almerisa, Leidschendam, the Netherlands, April 13, 2002. Courtesy the artist and Marian Goodman Gallery, New York & Paris; © Rineke Dijkstra

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Almerisa, Leidschendam, the Netherlands, March 24, 2007. Courtesy the artist and Marian Goodman Gallery, New York & Paris; © Rineke Dijkstra

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Almerisa, Zoetermeer, the Netherlands, June 19, 2008. Courtesy the artist and Marian Goodman Gallery, New York & Paris; © Rineke Dijkstra

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Olivier, The French Foreign Legion, Camp Général de Gaulle, Libreville, Gabon, June 2, 2002. Courtesy the artist and Marian Goodman Gallery, New York & Paris; © Rineke Dijkstra

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Courtesy the artist and Marian Goodman Gallery, New York & Paris; © Rineke Dijkstra

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Vila Franca de Xira, Portugal, May 8, 1994. San Francisco Museum of Modern ArtCourtesy the artist and Marian Goodman Gallery, New York & Paris; © Rineke Dijkstra

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Sefton Park, Liverpool, England, June 10, 2006. Courtesy the artist and Marian Goodman Gallery, New York & Paris; © Rineke Dijkstra

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Vondelpark, Amsterdam, the Netherlands, June 10, 2005. Courtesy the artist and Marian Goodman Gallery, New York & Paris; © Rineke Dijkstra

Work / Photography

What’s On: Rineke Dijkstra

This weekend, the San Francisco Museum of Modern Art opened a retrospective of Rineke Dijkstras’s photographs. Hers are rare and intimate portraits; subjects appear intensely vulnerable as they are captured during their formative periods, “when change is perceivable.” Which is why she is drawn to adolescents with all their self-conscious, self-possessed contradictions of youth – their physical emergence often charted over time. Continuing this theme of bodily ephemerality, the artist followed certain subjects through experiences (like childbirth or military training) and captured, remarkably, what appears to be inner, non-visible, change too.