Support Hyperallergic’s independent arts journalism.
If you walk into Sean Kelly gallery to have a look at the photography of James Casebere and you feel as if you have been immersed in an eldritch vision, you are not alone. These images are like the photographs that graced the covers of Architectural Digest in the 1990s: clean, well-lighted places devoid of human presence. Those photos relayed the eerie notion that the presence of people would sully the pure idealism of spaces that were supposedly constructed specifically for human use and habitation. The weirdness starts here, in that profound inconsistency.
If you are familiar with Casebere’s earlier work, particularly the series about prison cells from the ‘90s, you will find a similar hint of a melancholic absence in Emotional Architecture. He created places that are so empty, they keen for the presence of people. No one is around and no one is coming. No one can because Casebere’s photographs represent moments of stasis that in turn suspend the viewer between dystopian and utopian fantasies. The planet is engorged with people, so we long for the utter peace that solitude can bring. But we are pro-social primates, so if we were left alone indefinitely we would expire from sheer loneliness. Casebere actually photographs meticulously designed sets that he constructs to convey this emptiness that both threatens and beckons.
It’s fitting that Casebere has used this (now somewhat formulaic) approach to interpret the architecture of the fabled Mexican architect Luis Barragán — who, according to a New Yorker piece concerning the disposition of his archive, was a confluence of contradictory energies. According to the writer, Alice Gregory, “Barragán was a devout Catholic, and his work is characterized by a mixture of opulence and abnegation. ‘Where do you find more eroticism than in the cloister of a convent?’ he once asked.” He designed famous houses that were dramatically lit and suffused with color like the pink visible in “Shallow Pool” (2017), or the yellow that looks as if it was stripped from a bird and then ripened in the sun before being applied to the walls in “Yellow Passage” (2017).
Casebere’s photographs do convey the pristine, planar beauty of the architect’s designs, which, as Gregory writes, “[were] premised on surprise and an almost perverse protraction of pleasure. Low, dark corridors open into blindingly bright rooms with church-high ceilings.” Barragán may also have been a closeted gay man, which is only worth mentioning because the state of his sexuality deepens and extends the contradictions within this exhibition. The photos reflect Barragán’s architecture, which, while lovely, was reputedly built mostly within gated communities — places where other people are also hiding.
The photographs ultimately are melancholy with a tinge of the unnatural. Divorced from the life of the architect, the oeuvre of Casebere, and even the architectural space of Sean Kelly gallery — a vast display space that emphasizes the absence within the images — the works might read differently, maybe even as celebratory. But here, they keep me dangling between the nightmare and the dream.
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
What is the relation between possessing a person, possessing their image, and dispossessing their progeny
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.
We cannot be indifferent to the long-lasting effects of photography. The photographs at the center of Lanier v. Harvard are relentless in making Renty and Delia Taylor work and perform as slaves. The pain inflicted on them has not ceased. Photography has the capacity to propagate harm, and we have the moral obligation to interrupt…