Saturday, May 31, 2014

Questions For Discussion

1. What was the photographer's message? Did the photographs express it effectively?

2. How did the gallery's presentation affect your interpretation of the photographs?

3. How does this work fit historically into photographic tradition?

4. Would the photographs have been more effective if reproduced at a smaller scale, for example some size less than six feet tall?

5. What do you think of the photographer's decision to scratch his signature prominently across his artworks using a penknife?

6. Were you at all put off by the mural-sized piece immediately beyond the entrance depicting a rusty sewing needle penetrating a drop of blood on white background, labeled Untitled #17 (For The Forgotten Seamstress) ?

7. According to the photographer's artist statement, the show was intended to "transmediate a cross-pollination of historical imagery including personal scrapbooks and obscure FSA outtakes collaged with nonconsensual portraiture, exploring their currency while challenging the dominant patriarchy, but they could also be considered a response to terrorist reportage." Do you think the photographer achieved this? If not, do you think this objective could be achieved by hanging the images slightly lower on the wall?

8. The photographer wore ripped shorts, Circle Jerks T-shirt, bike messenger cap, and handlebar mustache to his opening. What do you think these choices expressed?

9. During the photographer's brief remarks at the opening, he made reference to "owning you all now." How did you interpret this?

10. What did you think of the photographer's decision to cluster near local press representatives throughout the evening, explaining his importance in terms catered to laypeople, while brushing the sunbleached dreadlocks from his forehead several times, allowing him to show off the OCCUPY! tattoo emblazoned on his forearm?

11. Is $5 the common going rate for Pabst Blue Ribbon at art openings?

12. At the opening the photographer made a decision to drink heavily. At one point he removed his shirt and attempted to ride one of the gallery attendants (using his words) "Like a stage horse! Now carry me home Carlee!" How did this decision transform your understanding of the work?

13. The work in the show was priced at $9,000 per piece. Would you rather own one of these photographs than a small used car? 

14. When you greeted the photographer warmly, he seemed to look right through you as if you did not register, and did not acknowledge your presence. You have met this photographer on four separate occasions in the past. What the fuck do you think his problem is?

15. After waking up the next morning passed out in the alley behind the gallery lying in vomit and cardboard and missing a shoe, and with no memory of how he got there, do you think the photographer was forced to reconsider the meaning of his work?

7 comments:

joelbrouwer said...

Oof.

If it's any consolation, absolutely analogous things happen at literary readings.

There are jerks in every genre. Often, indeed, they form a circle.

Unknown said...

Yeah, I've just stopped going to openings. I don't need the drama.

Anonymous said...

Were the ripped shorts also jeans shorts? Oh please, let it be so.

Anonymous said...

I met Allen Ginsberg once, if "met" is the right word. For some reason this reminds me of him, only Ginsberg wasn't as charming.

Anonymous said...

This actually sounds like way more fun than the usual art show openings back home...

crnigjuro

badaud said...

#15. No. Not in the least.

Anonymous said...

#15. Good setting for candid street photo
marct