Susan Swihart ‘s About
Face specifically follows the struggles and triumphs of being a twin but on
a broader spectrum revolves around dependency. The entire body of work displays
the war between independence and unity and identity amongst a pair. As a viewer
the pair does not necessarily mean a twin but can refer to a sibling,
significant other, friend, parents or even a thing. Entangled, Support and Shelter represent the moments of oneness
where the two people blur into each other and create a morphed individual. Scientifically,
these girls at one point were one zygote and eventually split into two embryos.
These images also highlight the variations of dependency that include comfort
and frustration. Always having someone present can be both warming and
maddening. Furthering the sense of wrestling with identity, the girls are
faceless, whether their backs are to the camera; an object in blocking their
face or their head is out of the frame. Joy,
Undone and Two represent the individuality that creeps out from them with
slightly different gestures such as one sitting entangled and one standing. Clean, Cold, Grow and Listen show how sometimes naturally they
are the same no matter how hard they battle against it. Their gestures are
almost mirrored in the way their hands are raised in Clean, how their heads are down in Cold, how their legs slant in Grow,
and how their hair lays against the ground in Listen. While we all cannot relate to being a twin, we could
possibly all relate to having an attachment to someone or something that is
both empowering and retraining.
Wednesday, January 10, 2018
Tuesday, January 9, 2018
Burk Frey reviews Deborah Turbeville
Deborah Turbeville (USA, 1932-2013) was a fashion
photographer who, along with Guy Bourdin and Helmut Newton, pioneered the
transition of fashion's clean, well-lit character into a rougher, looser, more
artistic, and avant garde style. Contrasting the urban eroticism of Bourdin and
Newton, however, Turbeville achieved this with mysterious, dreamlike, and
delicate scenes.
While we can recognize her work by the grain,
blurring, and understated tones, I think Turbeville's most significant artistic
contribution is her rejection of the male gaze - often supplanting it with
something more compelling, experimental, and emotionally raw.
Turbeville was fixated on her own complex
relationship with femininity, the art and fashion worlds (often apart,
particularly prior to her influence), her insecure yet genuine rapport with the
models, and her art's moody, broken quality. "The idea of disintegration
is really the core of my work. I destroy the image after I’ve made it,
obliterate it a little so you never have it completely there."
Burk Frey reviews Anthony Francis
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| Rosalyn at Window |
Another emphasis for Francis, borne out of his
background as an English teacher, is the infusion of poetic imagery or concept
in his work. This is most evident in his Real Lyric series, which he
presented to the UTSA BFA photo students in Fall 2017 (not pictured).
While I appreciate Francis' process in that
series, I instead find myself drawn to some of his more traditionally narrative
work, like his Capoeira For Everyone documentation (excerpted below). I
admire the way his personality comes through without overtaking the subject. It
feels optimistic and almost co-authored. Francis: "I make portraits
because I love people."
Quote sources: http://www.afrancisart.com/httpwww-afrancisart-comabout/
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