emily-jane major marie claire r.i.p. (2004-2006)Aletheia – Positions in Contemporary Photographies is a show currently going on in helsinki which is in finland i learned today. but not only is helsinki in finland but it is hosting a 2009 photography festival but not until 2009 so you'll have to wait til after the ball drops or dick clark dies whichever comes first *no offense to the clark estate*.
this show is focused around the idea of questioning fundamental aspect in the medium of photography like the real and photography's relationship to contemporary culture. i know it sounds very theoretical but its time to start thinking critically so here we go.
i couldn't find any information regarding the artist responsible for this image, but i love it/them. im a sucker for the diptych as you may well know and i appreciate the representation that any truth can be told in a photograph whether real or unreal. a portrait is taken in a graphic button down blouse with the artist (i'm assuming) wearing what appears to be a wig. In the second portrait she looks all strung out with a swollen eye, maybe she isn't strung out but she looks all kinds of shitty. and then the title of the piece is marie-claire rip 2004-2006, which seems to refernce that some fundamental change occurred between the taking of the two images yet is not illustrated. i like how the work functions in the way that it can be approached with a multitude of different reads and they all simultaneously affect/enhance the work. the viewer gets out of the images what they draw from in order to connect the dots.
i spent almost all afternoon looking at the work of the wonderful space 1026 artists and have decided to include not one but two in this week's contribution. both molly mcintyre and william paul buzzell are holding it down for the 215 and or/ the 610.
molly mcintyre we can do whatever we wanti love the line work of the image deducing these 3 seperate activities to their bare essentials. watching television, yawning, playing with the cat are all "spinster" stereotypes which i used to inform the construction of anne r hall and here they are pulled together in one image and it took me 12 images and a song and video and dance okay no dance. this work seems to reassure me on my own artistic intent and it's super beautiful too.
william paul buzzell self portrait as a townieanother 1026'er whose decided to paint the visual evidence of his connection to a location. driver's license, diploma, donor card are these pieces of visual evidence that typify the way we want to categorize someone, when placed juxtaposition to one another they seem to communicate how our identities can become linked to location. we are not just a blood donor but a rhode island blood donor which is where we went to highschool and where we learned to drive. the images are also set against a brick wall signifying its ingrained quality to the specific place. i've started to assemble my collection of typified ubiquitous artifacts that connect anne r hall to the type of person she is constructed to become.
2 comments:
I posted marie claire, R.I.P., too; I read this as a critique of fashion through extremes-- with make up/lighting/wig and without. Both images are strange in their expression.
Also, regarding annie hall, I never really finished articulating my thought in critique-- it's strange, and psychoanalysis is presently unfashionable but I was thinking about it like this: People have trauma or phobia's are led through an exercise where the imagine the end with a different and more empowering scenario. You could say that they visualize a healthier image as a gift to their psyche. SO, what if we considered the Energy of Annie Hall? Something that is tied to who she was as a person (like her discovered paper trail) but beyond it, as well. The created narrative serving a function of 'lifting her spirit'. We could look at it as if we got to witness this transformation as activated by creative energy...
thanks melanie, i feel as if psychoanalysis might become a very appropriate way for talking about the work. some of the ideas i've been working/struggling with have been the notion of archaeology raising from the dead to reveal truths about the artist/archaeologist. some of the things i am incorporating now into the work are the physical presence of her paper trail, paired against the praising of her rememberance. utilizing the video narrative as a "lifting her spirit" metaphor which results in a discrepancy between the artifacts of her paper trail with the staged resurrection of her memory.
i've really appreciated having you in our stacked class, i really enjoy your critical perspective in addition to the work you've created and what interest you on your blog. thanks again for your thoughts/wisdom
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