Apples and Bananas
—click on any image to enlarge—
My photographic work utilizes found language and imagery. As an undergraduate I studied Anthropology and I look at my source materials, books, blackboards, card catalogues, player piano rolls, sewing patterns etc. as potent artifacts that can yield poetic information reflecting the circulation and dissemination of information and material in our shared popular culture. I’m thinking about structures and systems and how a playful engagement can yield insights as well as generate new meanings.
Transposing the tradition of street photography, I navigate intuitively framing and partially decontextualizing my subject matter harnessing moments that suggest meanings beyond their original situations.
What interests me are the juxtapositions and sense of history derived from the words themselves even without knowing everything. I want to give you a sense of a particular environment but not in its entirety. The view is oblique and re-contextualized. In this close up immersive situation the viewer can retain a level of awareness, just enough to inform but also to allow a different visual and semantic experience to take hold. The source is familiar and recognizable but the experience is new. It is that tension between something that we recognize, that we routinely encounter and the fact that we can look at it in a different way that creates a strangeness, a difference in which exist multiple possibilities.
While respecting the constraints of a given subject, the page sequence of a book or the reference system of a library, the work suggests a visual meta-language, mixing history and humor to display the disparate, often unheard cacophony of voices present within cultural structures.
Reflecting intimate and direct encounters with familiar actions and objects – opening a card catalogue drawer, opening a book, folding a page – the viewer is reminded that meaningful visual surprise surrounds us if one pays attention.
Recent museum exhibitions include Making Knowing: Craft in Art, 1950–2019, Whitney Museum of American Art, New York; Face à face, frac île‐de‐france, Villetaneuse, France; Anna Atkins Refracted: Contemporary Works, The New York Public Library, New York; The Swindle: Art Between Seeing and Believing, Albright‐Knox Art Gallery, Buffalo; Lever le voile, Frac île‐de‐france, Paris; The Arcades: Contemporary Art and Walter Benjamin, The Jewish Museum, New York; Photo-Poetics: An Anthology, Kunsthalle Berlin and Solomon R. Guggenheim Museum; and Reconstructions: Recent Photographs and Video from the Met Collection, The Metropolitan Museum of Art, New York. Recent solo and two‐person exhibitions include A METHOD OF A CLOAK, Square is the Chatter, Galerie Markus Lüttgen, Düsseldorf; A METHOD OF A CLOAK, Klemm’s, Berlin; A Long Dress, Bureau, New York; Naked Eye Nature Morte, Galerie Crevecoeur, Paris, France; AAa:Quien, Erica Baum & Libby Rothfeld, Bureau, New York; The Following Information, Bureau, New York; and Stanzas, Galerie Crevecoeur, Paris. Selected biennials include: AGORA 4th Athens Biennale, Athens, 2013 and the 30th Bienal de São Paulo: The Imminence of Poetics, São Paulo, Brazil, 2012.
Her work is held in the collections of the Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; The Metropolitan Museum of Art, New York; MAMCO, Geneva; Albright‐ Knox Art Gallery, Buffalo, New York; Centre National des Arts Plastiques, Paris; FRAC Ile de France, Paris; and Yale University Art Gallery, New Haven and others.
Excerpts from “B-Flat Clarinet Fingering Chart”
[C] [A split second]
[D♯/E♭] [Vision: chaos of birds]
[G] [Vision: peace]
For the last five years I’ve been making text/image sequences of poetry employing found language on the dust jackets of hardcover books. I clip the last lines of blurbs to compose poetry. These last words, so to speak, are vestiges of writing which is itself deliberately ordinary in function. We are all too aware of the deception of buying a book after reading a blurb more engaging than the volume it’s wrapped around. I’m taking up the challenge of writing as collage from such meager shards, bringing variations of color, typography, and bits of images into the process.
from Tender the Night
This collection takes its title from a famous novel, with a notable redaction. When “is” is cut out, “tender” is transformed from adjective—meaning caring, gentle, sweet—to verb: to tender is to offer, proffer, present. Night becomes currency. The collage-poems assembled here depend on just this style of phase change: excision reaping lateral transformation. The novel Tender is the Night redacts and reorganizes the experience of its muse, Zelda Sayre Fitzgerald. These scraps muse on roaring nights, given and profited from, pilfering mass media, art, the vault of my life and the lives of near ones, poking around the basement of theft and offer.
you. yourself. a beginner. your metaphor leaks of thingness.
easing into selfness. slipping behind the comfort of furniture.
so safe. a gate. it absorbs your being, whole. welcomes you in.
will you go through it? will you go through with it?
a woman. in dark. mist clouded. ambiguously tousled.
the effect of a comfortable position grows on you.
as does the k/not knowing. there is comfort in the known.
and the not known.
your red event almost went unnoticed.
receding into the material. into the metaphor.
not wanting to be noticed. not waiting.
or weighting. without noun or renown.
a distribution of clouds. on the surface. on the face of it.
forming function. as a condition. in the shape of an organ.
the metaphysics of black. the elegance.
the mysteries of the k/night.
smooth + loose. loosely loose. an undecided position. the urge to understand the empty space. the void. to stand under. single + slippery. an ambiguous entity. lacking definition. like the wind. you can feel it. hugging your being. yet it’s invisible. nowhere to be seen. strewn + dear. a thin existence. ethereal + alone. thin air. hither + thither. a slack scat. weightless + gold. lively adrift + scattered. unattached + open. self multiplying. a layered cosmic joke. a tiered cake. a comedy within a tragedy. or a tragedy within a comedy. a commedia. an anarchic media. a slippery medium. a humble thought. come-hither. come liberates. dressed in crushed velvet. till breathing feels like laughing. being.
i echo & bounce. resound elsewhere. in another place. dropping stitches. in a row. loosely + behind veils. broad casting. along the way. stripping + direct. somewhere in space. what was the question? redefining. shifting + multiplying. again. white flecks. miniatures. strewn + dear. three angles. only slightly overlapping. almost not meeting. loose + elegant. words return to their beginning. leave us speechless. silent + precious. reenter their wombs. when there were fifty words for tears. layers shed. falling back in. directly reflecting beyond.
id/entity. gathered into small visuals. strapped into self image. on a diet. stripping + same. corseted + named. leaking psyche. weightless + gold. hieroglyphics in vials. funny foes + fauxs. shrinking picture. signs on the streets. omens. logos. logos. holding back. slowing down. dissolving + fizzing. withering wind. a number replaced the pronoun. without noun or renown. yes, I repeat myself. I am repetition. no name now. generic brand. it’s all the same. truth is radical love. it fucks the rules. loosens the restraints. grasping the picture. you reappear. revenir. rêve. re/come in a dream.
a bed of borrowed ease. crisply. a transition into a smooth stance. a reaction to the shift. doing it again. just because. just because. plagiarizing my self. self imitation. self limitation. care for things not mine. a curious curator of stolen postures. assumed position. touch without touching. the residue of things misunderstood. loosely ruffled. and crumpled. a calculated pose. amongst trees. blended + lax. ideas on loan. slide into comfort. a smoky refrain. a Satie background. slipping into place. a groove. shifting + multiplying. situated in luxury. in after effects. on a sun day. a down comforter.