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...powerfully my mind again. I recently encountered Karen Henderson's Gallery cameras: a pinhole between two rooms, installed at the Hallwalls Contemporary Arts Center in Buffalo, and I can't think of an artist's work that narrates less.
Humans extract narratives from the wild, jumbled, ungraspably heterogeneous flux of experiences--both real and imagined. For example, one talks about how her/his day went and is, of course, doing nothing of the sort. Just the very, very few events judged significant are recounted. Bryson says: "The concept of importance can arise only by separating itself from what it declares to be trivial and insignificant; 'importance' generates 'waste'." Bryson posits that the representations of still life, on the other hand, embrace the trivial, the utterly unremarkable or anti-remarkable. Still life defines itself not only through leaving out human subjects, but through representing objects adjunct to feeding and cleaning, two of the most general, basic, and obligatory areas of human activity. But this is just Bryson's first move. He follows his propositions with thorough interrogations of many celebrated still life paintings. In each of the paintings discussed, Bryson finds dominating, even heroic narratives embedded w ithin the works. These are located not in the objects depicted, but in the artistic strategies made evident by the...
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More articles from C: International Contemporary Art
Ihor Holubizky & Jon Tupper on Asia Pacific Triennial., March 22, 2003
The art of noise: Merzbow., March 22, 2003
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