This is the third and final post about Photoville. We’ve had the beginning, the middle and so now, the end.
Of the two dozen photographers in the show, only three had actual objects (Sye Williams’ darkroom prints, Jane Lindsay’s bottle caps and Deborah Luster’s tintypes). Given the cost and hassle of shipping, it was decided that the re-used Noorderlicht exhibition prints would not be returned.
I was given instructions to destroy all prints.
It occurs to me that a lot of people don’t talk about this aspect of contemporary exhibition-making. It’s not really sad to see them go, because they never belonged to anyone. They only belonged to the show. And besides, knowing they were to be destroyed, I put most of them up with double sided sticky tape, so there was no preserving them after that ultra-adhesive abuse anyway. Super-strong magnets are hardly kind to bare prints either!
We do plan to travel Cruel and Unusual (make Hester, Noorderlicht and I an offer!) and as such we’ll see shiny versions printed again.
Until then, think on these images of photogaeddon, wanton destruction and image massacre.
Filed under: Visual Feeds Tagged: Adam Shemper, Alyse Emdur, Amy Elkins, Ara Oshagan, Araminta de Clermont, Brenda Ann Kenneally, Christiane Feser, Cruel and Unusual, Deborah Luster, Harvey Finkle, Jane Lindsay, Jeff Barnett-Winsby, Jenn Ackerman, Jon Lowenstein, Joseph Rodriguez, Lizzie Sadin, Lloyd Degrane, Lori Waselchuk, Marilyn Suriani, Natalie Mohadjer, Photoville, Richard Ross, Scott Houston, Sean Kernan, Stephen Tourlentes, Steve Davis, Sye Williams, Tim Gruber, Yana Payusova
