真实还是虚构

标题: 
Truth or Fiction? 排序依据： Copeland, Colette, Afterimage, 03007472,
January/February 2011, 卷 38, 期号 4
数据库: 
Art Full Text (H.W. Wilson)
TRUTH OR FICTION? 
内容
1. FOOTNOTES

全文
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True Fiction
Philadelphia Photo Arts Center
Philadelphia
September 9-November 27, 2010
Featuring approximately 150 photographs by
more than seventy photographers, the seminal
exhibition "Pleasures and Terrors of Domestic
Comfort" opened at the Museum of Modern Art
(MoMA) in the fall of 1991. Where postmodernist
photography had previously been neglected at
MoMA, with this exhibition curator Peter Galassi
attempted to bring photography's disparate and
often warring factions--the modernists and the
postmodernists--into dialogue. The 1991
exhibition marked the first time MoMA showcased
candid documentary photographs alongside
conceptual and staged work. Galassi's survey
had a profound impact on photography. Many of
the photographers exhibited have become critical
players in photography's history, including James
Casebere, Philip-Lorca diCorcia, Doug DuBois,
Thomas Roma, Cindy Sherman, Laurie
Simmons, Joel Sternfeld, and Carrie Mae
Weems.1 The exhibition's legacy continues, as
domesticity remains a prevalent theme in
contemporary photography.
Inspired by "Pleasures and Terrors of Domestic
Comfort," the recent exhibition "True Fiction" at
Philadelphia Photo Arts Center (PPAC) revisited
some of the original premises of the MoMA show.
Works from nine photographers examined the
subject of domesticity, defining the term in the
broadest sense. The photographs explored the
fine line between truth and fantasy. Documentary
work coexisted with staged tableaus. Some
works addressed the political while others
examined personal identity. Co-curator
Christopher Gianunzio and Executive Director
Sarah Stolfa were interested in the gray "in-
between areas," such as the ways in which
photographers challenge notions of authenticity
by disrupting viewers' perceptions of reality. "True
Fiction" was intended as a "mini survey,"
presenting the diversity within contemporary
imagemaking.
PPAC's gallery is small, limiting the number of
works. Is it possible to have a meaningful survey
with only nine photographers? The theme of truth
vs. fiction was also puzzling. While this issue is
still an active debate in photography, the '90s
produced a plethora of artists and exhibits
focused on this theme. What is its current
applicability? To understand this, one must
search for the space "in-between" truth and
fiction where both can mutually coexist.
Johanna Drucker makes a case for this idea in
her book Sweet Dreams: Contemporary Art and
Complicity (2005). In the chapter entitled
"Dubious Documents," Drucker states that the
current era of digital technology has "softened our
attachment to the concept of photographic truth.
… No connection to any external source is
required to produce the most believable of
photographic truths."2 Photographic artifice is
complicit in "reinforcing the myth of the real,"3
which results in a codependent relationship
between truth and artifice as they continually
redefine one another. Transitioning from a binary
to a mutually dependent relationship causes a
paradigm shift. "The photographic medium
creates artifacts in its own codes that are
themselves real."4
The work in "True Fiction" deployed a variety of
strategies to investigate this mutual co-production
of truth and artifice within visual and symbolic
practices. Yasser Aggour's series "The Hunted"
(2010) features large game animals moments
before their death. Culling trophy hunter images
from the internet, Aggour seamlessly removes
the key referent (the smiling trophy hunter) from
the image, forcing the viewer to focus on the
animal. By eliminating the perpetrator of violence,
the photograph becomes a portrait of the animal,
robbing the hunter of his power.
Elaine Stocki's and Bradley Peters's photographs
depict moments of tension. Whether a cinematic
moment, composed for the camera, or a
"Bresson-esque decisive moment," both artists'
work suggest hidden narratives. In Peters's large
color photograph Untitled (Man on Ledge with
Baby) (2009), a man dangles a baby over a stone
ledge. Capturing an intermediary moment, Peters
leaves the viewer unsure as to the motivation
behind the event. Has the man precipitated the
baby's fall, or is he averting a potential accident?
Like Drucker's "dubious documents," Peters's
images highlight their staging and artifice even as
they ostensibly capture the chance event.
Though strangely surreal, Stocki's color
photographs capture performative moments. In
contrast to the oblivious figures in Peter's work,
Stocki's subjects are fully aware of the camera,
acting in their own drama. In Laverne (2008), two
figures sit under a tree covered in a gold, quilted
satin comforter. The majority of the composition
comprises the blanket; only their heads are
visible at the top of the frame. A touch of camp
and spectacle references pantomime, a farcical
play for the camera.
LaToya Ruby Frazier and Kelli Connell each
depict moments of intimacy within the domestic
environment. Of all the artists in "True Fiction,"
Frazier's work aligns most closely with traditional
documentary photography. However, she
challenges the supposedly objective
documentary gaze by participating as both
subject (daughter, granddaughter) and
photographer. Her black-and-white photographs
function simultaneously as autobiography and
social document. Photographing her family for the
past eight years, Frazier uses the images to
navigate her complicated family dynamics.
Connell's domestic portraits are both digital and
social constructions. Questioning gender roles
and sexual identity, Connell photographs the
same model playing dual roles, and then
seamlessly juxtaposes the two subjects in a
single frame. Connell's characters each re-enact
a private moment, existing together only in the
digital world. Yet ironically, Connell's fabrications
evoke a deeper intimacy than Frazier's portraits.
In Connell's This Morning (2008), the subjects'
body language and close proximity to one
another suggest genuine affection, while Frazier's
Mom and her Boyfriend Mr. Art (2005) conveys
detachment. Although physically close, Frazier's
two figures suggest aloofness and distance.
Chad States and Beate Gütschow each
incorporate romanticized or utopian landscapes
into their work. Like Connell, States explores
sexual identity by photographing public gay
"cruising" sites. Through his lens, the bucolic
forests and parks acquire an illicit context. States
reveals "in-between" or gray areas, visible only to
the initiated. Gütschow also defamiliarizes
pictorial representations of the landscape.
Incorporating up to one hundred montaged
images, Gütschow creates idealized landscapes
ruptured with elements of urban life. The resulting
fictions evoke the bleak alienation of the
urbanized industrial landscape.
The two most prominent artists in the exhibition
were Gregory Crewdson and Taryn Simon. As
one of the pioneers of postmodern staged
photography, Crewdson has influenced scores of
fine art photographers and the term "cinematic
moment" was popularly coined in reference to his
images. Crewdson's exhibition image is one of
his lesser-known works. Production Still (Edie in
the Trailer) (2007) portrays a bleak, desolate
landscape. Characteristic of Crewdson's work, a
narrative moment unfolds inside a domestic
space.
Simon's photographs extend beyond the
domestic and into the realm of the political. The
large-scale chromogenic print entitled U.S.
Customs and Border Protection, Contraband
Room, John F. Kennedy International Airport,
Queens, New York (2007) resembles a still life
vanitas painting. Artfully arranged flora and fauna
comprise the print. A South American
decomposing pig head, African cane rats infested
with maggots, rotting mango and passion fruit,
South Asian lime infected with citrus canker--all
were seized, categorized, and then disposed of
(either ground-up or incinerated) over a 48-hour
period?
As one of the only Philadelphia galleries
dedicated to exhibiting contemporary
photography, PPAC's strategy was smart. The
inclusion of Crewdson and Simon anchored the
exhibit, ensuring a big draw. While Crewdson and
Simon might have been the impetus for initial
viewer interest, emerging artists rounded out the
exhibition's thematic dialogue. No single artist
was singled out or given preferential treatment.
The curators chose to eliminate all wall text,
democratizing the images and allowing viewers to
make their own judgments and interpretations. In
writing about "Pleasures and Terrors," Michael
Kimmelman states that the exhibition "insists on a
democracy of viewpoint that concentrates
attention on the images and away from theory."6
It is this democracy of viewpoint, in the spirit of
Galassi's preeminent exhibition, which made
"True Fiction" resonate with relevance today.
FOOTNOTES
1. Research on exhibition culled from Michael
Kimmelman, "Joys and Terrors on the
Homefront," the New York Times (September 27,
1991): www.nytimes.com/1991/09/27/arts/review
-art-joys-and-terrors-on-the-home-front.html; acc
essed 11/1/10 and Museum of Modern Art
Archived Press
 Release: www.moma.org/docs/press_arc
hives/6955/releases/MOMA_1991&lowba
r;0084_63.pdf?2010. 
2. Johanna Drucker, Sweet Dreams:
Contemporary Art and Complicity (Chicago:
University of Chicago Press, 2005), 177. 
3. Ibid., 178. 
4. Ibid., 179. 
5. See  www.tarynsimon.com/works_amer
icanindex.php. 
6. Kimmelman. 
PHOTO (BLACK & WHITE): Huxtables, Mom and
Me (2008) by LaToya Ruby Frazier
~~~~~~~~
By COLETTE COPELAND
COLETTE COPELAND is a multimedia artist who
teaches critical writing and visual studies at the
University of Pennsylvania in Philadelphia.

Source: Afterimage, January/February 2011, Vol.

38 Issue 4, p25, 2p
Item: 505384957

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标题: 
Truth or Fiction? 排 序 依 据 ： Copeland, Colette, Afterimage, 03007472,
January/February 2011, 卷 38, 期号 4
数据库: 
Art Full Text (H.W. Wilson)
事实还是虚构？ 
内容 

1. 脚注。

全文 
真正的小说
费城照片艺术中心
Philadelphia
9 月 9 日 的 11 月 27 日 ， 2010
配备约 150 照片的摄影师，超过 74 的具有重大
影响的展览"的乐趣和恐怖的家庭舒适性"的开幕，
现代艺术博物馆（ MoMA ）在沦陷的 1991 。
其中，后现代主义摄影以前一直被忽视， MoMA
、与此展馆长彼得· Galassi 试图使摄影的完全不
同，而且往往是交战各派—— modernists ，
postmodernists ——到对话框中。 1991 展览的
首次 MoMA 展示坦诚的纪录片的照片旁边的概念
和分阶段的工作。 Galassi 的调查产生了深刻的
影响，摄影。 许多摄影师展出已成为关键的球员
在摄影的历史记录，包括詹姆斯· Casebere ，
Philip-Lorca diCorcia ， DuBois Doug 托马斯·吉
普赛人、 Cindy Sherman 、 Sternfeld Laurie 西
蒙斯、约珥、和家丽梅 Weems 1 ．展览的传统仍
在继续，因为 domesticity 仍然是一个普遍的主题
是在当代摄影。 
灵感来自"的乐趣和恐怖的家庭提供舒适的设
施，"最近的展览"真正的小说"在费城照片艺术中
心（ PPAC ）重新审视一些原有房地 MoMA 表
演。 工程从 9 个摄影师探讨的主题，
domesticity 下定义的词在最广泛的意义上说的。
这些照片探讨了一线之间的真相和幻想。 纪录片
工作共存与 tableaus 上演。 有些工程处理的政
治，而另一些研究了个人的身份。 共同鉴定专家
克里斯托弗· Gianunzio Stolfa 和执行主任萨拉有
兴趣的灰色"之间的地区，"等途径，使摄影师的挑
战观念的真实性，扰乱了观众的观念的现实。 "真
实的谎言"的目的是作为一个"小"的调查，提出了
多样性在当代的 imagemaking 。 
PPAC 的图库很小，从而限制数量的工程。 是否
能有一个有意义的调查中，只有 9 个摄影师？ 这
一主题的真相与谎言也是令人困惑的。 虽然这一
问题仍然是一个活跃的辩论中摄影、‘ 90s 产生
了大量的艺术家和展览的重点是这一主题。 什么
是其目前的适用性？ 要理解这一点，一个必须搜
索空间"之间"的真相和小说，其中两个可以相互共
存。 
Johanna Drucker 使一个案例，这一想法在她的书
的甜梦：当代艺术和共谋（ 2005 ）。 在本章的
标题是"可疑文件，" Drucker 国家,当前的时代，
数字技术已经"软化我们的附件的概念，摄影的真
理；……没有连接到任何外部来源是必需的，以生
产最可信的摄影的真理。“ artifice 2 摄影是卷
入"强化的神话，真正的" 3 ，结果在
codependant artifice 真理之间的关系，并为他们
不断地重新定义了一个另一个。 从二进制转换为
一个互相依赖的关系造成了一种模式转变。 "在摄
影中会产生伪影在自己的代码，本身都是真实的"。
4 
"工作中"真正的小说"部署了多种战略，调查这一
相互合作生产的真相与 artifice 可视范围内和具有
象征意义的做法。 Yasser Aggour 的系列"狩
猎"（ 2010 ）功能的大型游戏的动物的时刻之前，
他们的死亡。 扑杀锦标猎手的图像从互联网、
Aggour referent 无缝地将删除键（微笑的锦标猎
手）从图像，迫使查看器，以集中的动物。 通过
消除犯罪行为人的暴力行为，该照片将成为一个纵
向的动物、劫的猎人，他的能力。 
Stocki 的伊莱恩和布拉德利彼得斯的照片，描绘的
紧张时刻。 是否以电影的时刻，组成的相机或“
Esque Bresson 的决定性的时刻，"这两个艺术家
的工作建议隐藏说明。 在彼得斯的大型彩色照片
无标题（文上凸缘带宝宝）（ 2009 ），一名男子
dangles 一个婴儿在一石的凸缘。 捕获一个中间
的时刻，彼得斯离开查看器不能确定其背后动机的
事件。 有的人突然宝宝的秋季，或为他避免潜在
的意外发生？ Drucker 一样的"可疑文件"，彼得斯
的图像突出显示它们的分级和 artifice 即使他们表
面上是偶然捕获的事件。 
但奇怪的是超现实的， Stocki performative 的彩
色照片拍摄的时刻。 与之相反,不介意数字，彼得
的工作， Stocki 的科目都充分认识到相机，行事,
在他们自己的话剧。 在 Laverne （ 2008 ），两
个数字坐在一棵树下所涉及的是金牌，绗缝的缎抚
慰。 大多数的组成包括毛毯，只有他们的头，可
以看到顶部的大梁。 一个触摸的营地和眼镜参考
pantomime ， farcical 播放的一个摄像机。 
LaToya "Ruby" Kelli Connell Frazier 和每一个描
绘的时刻亲密关系的国内环境。 所有艺术家的"真
正的小说、" Frazier 的工作将对齐最密切的关系，
传统的纪实摄影。 但是，她挑战的所谓客观的纪
录片的目光由参与作为这两个主题（女儿、孙女)
和摄影师。 她的黑白照片功能同时作为自传和社
会的文件。 拍摄她的家庭在过去的 8 年里，
Frazier 使用图像浏览她的复杂的家庭的动态。
Connell 国内的画像都是数字和社会结构。 审问
的性别角色和性别特性、 Connell 照片相同型号
的扮演双重角色，然后无缝地 juxtaposes 的两个
主题中的一个帧。 Connell 的每一个字符重新颁
布一个私人的时刻，现有的合作只能在数字世界。
但具有讽刺意味的是， CONNELL 的捏造唤起一
种更深层次的亲密度比 Frazier 的肖像画。 在
Connell 的今天上午（ 2008 ），"主题的身体语言，
靠近一个另一个表明真正的感情，同时 Frazier 的
妈妈和她的男朋友先生艺术（ 2005 ）传达了支队。
虽然身体上的密切和 Frazier 的两个数字表示
aloofness 和距离。 
乍得国家和 Beate Gütschow romanticized 或纳
入每一个乌托邦式的景观纳入他们的工作。 如
Connell ，各国将探讨性别特征的拍摄公众同性
恋"巡游"的站点。 通过他的镜头， bucolic 森林
和公园采集一个非法的背景下进行的。 国家显示
出"或"之间的灰色地带，可见只对发起的。
Gütschow 还 defamiliarizes 图案申述的景观。
其中包括多达 100 台 montaged 图像、
Gütschow 创建理想化的风景破裂与城市生活的元
素。 由此产生的小说唤起了暗淡的疏远，城市化
的产业格局。 
这两个最杰出的艺术家中展出了 Taryn Crewdson
和西蒙·格雷戈里。 作为其中的一个先驱者的后现
代上演摄影、 Crewdson 影响了数十名美术摄影
记者和术语"的影院时刻"这一普遍创造中提及他的
影像。 Crewdson 的展览形象是他的一个较少为
人所知的作品。 （ Edie 生产仍在挂车）（ 2007
）描绘了一个暗淡的、荒凉的风景。 特点，
Crewdson 的工作，一个叙述性的时刻的来临，在
一国内的空间。 
西蒙的照片超出了国内和进入的领域中的政治。
在大规模的 chromogenic 打印标题是美国海关和
边境保护、违禁物品的资料室，约翰·肯尼迪国际
机场、皇后、纽约（ 2007 ）类似于一个仍然生活
的 vanitas 的绘画。 Artfully 排列的植物群和动物
群组成的打印。 一个南美洲分解猪头、非洲蔗鼠
患的 maggots 、腐烂的芒果、百香果、南亚石灰
染有柑橘类 canker －－所有被检取、分类，然后
弃置，（无论是地面上或焚化），在一个 48 小时
的周期？ 
作为一个唯一的专用于费城美术馆展出当代摄影、
PPAC 的战略是明智的选择。 列入 Crewdson 和
Simon 锚定的展览，确保有一个大的画。 虽然
Crewdson 和 Simon 可能已被用于初始的动力查
看器感兴趣，新兴艺术家的四舍五入，该展览的主
题对话。 没有一个单一的艺术家是挑出或给予优
惠待遇。 该博物馆馆长选择，消除所有的墙壁上
的文本，使之民主化的影像，让观众作出他们自己
的判断和解释。 在撰写有关"的乐趣和恐怖事
件，"迈克尔说， Kimmelman 展览"坚持在一个民
主国家的角度来看，集中注意力在图像上，并远离
理论"。 6 正是这种民主的角度看，在精神的
Galassi 的最为突出的展览中，这将使"真正的小
说"的共振，与今天的现实意义。 
脚注。
1 。 研究从迈克尔· Kimmelman 展览宰杀，"欢
乐和恐怖的 Homefront ，"《纽约时报》（ 1991
）、 9 月 27
日  www.nytimes.com/1991/09/27/arts/review-
art-joys-and-terrors-on-the-home-front.html;  访问：
11/1 ／ 10 和现代艺术博物馆存档的新闻稿：
  www.moma.org/docs/press_archives/6
955/releases/  lowbar MOMA ＆ 1991 ； lowbar
(&u) ;netware lowbar (&u) 0084 ； 63 ． pdf ®
2010 。 
2 。  Johanna Drucker 、甜梦：当代艺术和共谋
（芝加哥：芝加哥大学出版社， 2005 ）， 177
。 
3 。 同上， 178 。 
4 。 同上， 179 。 
5 。 见  www.tarynsimon.com/works_a
mericanindex.php.
6 。  Kimmelman 。 
照片（黑白）： Huxtables ，妈妈和我（ 2008
）的 LaToya "Ruby" Frazier 
~~~~~~~~ 
COPELAND 由 COLETTE 
COPELAND 科莱特是一个多媒体艺术家任教的关
键写作和可视化研究的大学在宾夕法尼亚州的费城。
 

来源：残像， 1 月 / 2 月 2011 ，第一卷 38 问题

4 、 p 、25 2p 
项目： 505384957