Insect Wings (1840) by William Fox Talbot, a botanist and photographic inventor, was a mystical work of scientific art which displays a quality like no other. Further research into Talbot’s work revealed that Talbot was particularly attracted to the mechanical exactness in the representation of nature that photography offered because he was not skilled in the documentation from the artist’s hand.[1] Talbot’s Photogenic Drawing Negative (1838-39) (Figure 2) embodies overwhelming qualities of delicately refined organic vines of lines that twist and curve of which are complemented by the intense burly blocks of shapes that are the leaves. The composition of this scientific photograph is asymmetrically balanced between the heavy visual weight of the large leaves and the complex visual weight of the thin varying vines. Talbot’s interest in wanting to see more through the magnification offered by scientific lab processes drew him closer to using photography as a means of delineating and diagramming the dynamic quality of nature. In obscuring the direct contribution of the artist’s hand and allowing the photograph to create itself, the scientific artwork’s conceptual indeterminacy materializes.[2] Formally, the artwork is not physically drawn or painted by Talbot, and yet there are elements, like the composition, that Talbot contributes to the work. “Talbot’s botanical images function as temporal diagrams that unfold through variation and expansion.”[3] Talbot’s Branch of Leaves of Mercuriàlis pérennis (1839) (Figure 3) gives the illusion of being symmetrically balanced – the stem is centered with one leaf at the top and three leaves on either side of the stem, with all the leaves appearing to be roughly the same size. However, varying levels of translucency in the luminosity of the image as well as the irregular values of a mixture of 1part alizarin crimson hue to two parts burnt umber create asymmetrical disruptions within the composition of the botanical image. The repetitive nature of the leaves create a visual rhythm emphasized by the opaque thin leaf shapes in the overlap of the individual leaves. This play with rhythmic luminosity and irregular values are components of this work of art by Talbot which possess and progress the dynamic diagram of nature. [1] Robert Harbison, “Decoding the Cipher of Reality: Fox Talbot in His Time,” 1991, 2. https://www-jstor-org.libaccess.sjlibrary.org/stable/24472403 [2] Vered Maimon, “On the Singularity of Early Photography: William Henry Fox Talbot’s Botanical Images,” 2011, 960. https://doi.org/10.1111/j.1467-8365.2011.00852.x. [3] Ibid., 971. Bibliography
Harbison, Robert. “Decoding the Cipher of Reality: Fox Talbot in His Time.” Aperture (San Francisco, Calif.), no. 125. 1991. 2–8. https://www-jstor-org.libaccess.sjlibrary.org/stable/24472403 Maimon, Vered. “On the Singularity of Early Photography: William Henry Fox Talbot’s Botanical Images.” Art History 34 (5). 2011. 958–77. https://doi.org/10.1111/j.1467-8365.2011.00852.x. IS 221 Studio 8 A dreary, overcast day throws the room and the artwork into a bleak, steely, dim light. Scrolling neon lights flash on and off reflectively in the corner of my glasses. Candy apple red, Kelly green, bright turquoise blue, and glitzy white blink at intervals, moving backwards, away from the other artworks. The sign reads “For A Limited Time Only” and echoes the theme of Fabre’s studio, which is set up in display of an exhibition. Fabre describes his process of designing his studio in the style of an exhibition, My studios generally have an element of installation. I resolve the relationships my pieces share in the “installing” of them. The conceptual echoing reveals itself as I approach my work from an installation base, almost like my ever-evolving solo show. Studio work takes many forms for me and can happen concurrently and in numerous locations. I work both analogy and digitally. Around the space are multiple photographic prints (collective and individual), symbols, objects, and subjects working around and towards the concepts of: the temporal, finite realities in life; the harmful and unconstructive effects of consuming commercialism; and the superficial youthfulness in a contrast to the profound sincerity of timeworn lives. A Make America Great Again (MAGA) red cap is a highly politically and emotionally charged object which triggers intensified emotions within anyone who has an awareness of United States American history and culture. Here, Fabre has trodden and trampled it thus besmirching and befouling any optimistic and encouraging support for this symbol and the possibility it portrays for some. However, this purposefully damaged symbol was then placed on a pedestal as though glorifying any new meanings constructed from the mutilation. Conceivably Fabre has created a small monument put up in commemoration of his sentiments and reactions to the actions of President 45 and his supporters. Fabre comments on the current economic and political state of the US, “[It’s] desperate, divisive, exploitive, alienating, depleting, predatory and unsustainable.” The statement is clear: anything that President 45 has done to “make America great again” is outrageously erroneous and extremely iniquitous. The neon red and the candy apple color of the hat are both reflected upon the parallel wall which displays two blown up images of a SALE sign and a pixelated Popeyes chicken sandwich with a stripped down and simplified version of the Popeyes logo in a patterned background. The SALE sign materializes the concept of commercialism, while the chicken sandwich in its distortion manifests the concept of consumption. Through a juxtaposition of these images, the conception of consuming commercialism is apparent. Fabre is undoubtedly making a commentary on our interaction and response to commercialism, he states, “The chicken sandwich blurred our collective vision. The piece was in reference to current affairs, a man was stabbed over cutting in line around an east coast Popeye’s chicken sandwich frenzy.” A hidden message of the word itch is placed in the repetition of the simplified Popeyes logo. An uncomfortable, irritating sensation with the desire to satisfy this urge of our eyes on popular or pop culture. Fabre’s proclamation on commercialism is resounding: we have a pining to satiate our desires formed from our connection to commercialism which can only be achieved through consumption, despite the fact that this consumption is not a heathy one. Resonating with the statement concerning the idea of MAGA and the proclamation on consuming commercialism is Fabre’s diptych – on the wall perpendicular to these two vibrantly vibrating concepts – each of four images stacked upon one another from the floor to the ceiling. These photographs are black and white moments captured in a mall that is visibly going out of business. Any image of a youthful impression is portrayed in a superficial manner – the pretty and attractive female model is seen through the depiction of an advertisement (possibly for makeup or perfume) along with the Disney character Olaf as a stuffed toy which is existing as a size larger than a child. These materialistic qualities define the concept of youth for Fabre. The content of these photographs are placed in, potentially ironic, contrast with the photographs depicting timeworn lives – one elderly person looks back away from chocolate (the sweet temptation of life) along with another elderly person who is hunched over in exhaustion as the light from outside shines in on the dark emptiness of the building which is a visual effect that is comparable to her own body. Fabre’s exhibition-styled Studio 8 utilizes the intersecting effects of composition and relational promptings to convey concepts of the finite realities in corporeal life, the detrimental and ineffectual effects of consuming commercialism; and the superficial youthfulness in contrast to the profound sincerity of timeworn lives. This successful presentation by Fabre is certainly the first in a succession of developmental explorations into the perception of value, consumerism, capitalism, the intersection between business and government, pop culture and mass media all within the culture contextually based in the United States. Herbert Sanders Gallery at San Jose State University |
About this PageThis page consists of analyses, interpretations, and translations for various artists, artworks, and art movements from my perspective. Explore the Archives for more. AuthorTessa Barretto Archives
September 2020
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