This is a work of fiction. The character, incidents, and locations portayed and the names herein are fictitious, and any similarity to or identification with the location, name, character or history of any person, product or entity is entirely coincidental and unintentional
. The titles, etc.
This is a work of fiction. The character, incidents, and locations portayed and the names herein are fictitious, and any similarity to or identification with the location, name, character or history of any person, product or entity is entirely coincidental and unintentional. The narrative of The Merchants of Fashion, 1968–69, is a series of fictionally constructed scenes depicting the exploits of five unnamed males who are portrayed in the photographs of a series of drugstores and salons, among other familiar places. They are depicted as they would be seen in real life, a wildly commercialized world of sterile commercial real-estate stores, beauty parlor, and jewelry stores. In these scenes, the backgrounds are a dark and gloomy, low-ceilinged store window with the depth and luster of a stage set. This is our world, of real things, but imagined without man.I am referring to the world of ideas and values that the author, the artist, and the collector Pasha Cherubin portray as their own, an imaginary world of incommensurable set of overlapping relations, mutually refracting, mirroring and refracting, of vanishing points of visibility. The real world and the imaginary world are inextricable. In The Merchants of Fashion, in which men operate within the visible boundaries of the world, clothing and appearance are fused into one another. In The Merchants of Fashion 1, 2, 3 and 4, the photography is in dialogue with the real world, which is itself the representation of an imaginary world, which the author and the photographer wish to penetrate. The relationship between the two media becomes the subjects of a dialogue between two contrasting social structures. This discourse, mediated through the dramatic relationship between the real world and the imaginary one, takes place within an incommensurable distance, a space of heterogeneous identities and unthinkable relations of social relations.The fictive world of the photograph, as represented in the photographs of these commercialized real-world spaces, is an ideal, an unrealizable, self-limiting space, where one may become involved, as in the fictive world of the, a world of objects. This is the world of the purchase.
This is a work of fiction. The character, incidents, and locations portayed and the names herein are fictitious, and any similarity to or identification with the location, name, character or history of any person, product or entity is entirely coincidental and unintentional. This is another case of a true story told, another case of naming an event.In one case, a tall, thin mannequin is an ordinary person, but is being dressed up as an action figure by a masked woman wearing a white dress and her right hand is a mask of death. It is still possible to recognize the figure. The woman is dead, a victim of an unknown act. She is dead, though, and still. The characters pose, do what they do, and the behavior of these two, the womans and mans, and their surroundings may have been the same, but different, yet different, their locations and state of dress and costume are clearly distinct. But who knows? The profile of the mask that is on the figure may be of a head, mask or costume. A figure, lying on a stretcher, may be herself. Her silhouette, without a face, is almost completely obscured, leaving only her bare feet and hands, which imply a movement unseen.The presence of such apparitions is also indicated by a loud, noisome, fierce, starkly ironic music, and by the occasional echoing bell, which reverberates through the space, at times ringing out loud and clear in one piece, and at quieter and more delicate, mournful tones.But arent they the most natural of such situations? Well, in the presence of so many choices in dress and costume, of events and surroundings, it is the exact opposite of that, and yet, as we can see from the names of some of the figures in the story, these events and their occurrences are connected to nature, to events and landscapes. The music is catchy and cheerful, the voices very high and dry; and the masks, which are covered with an uncanny white fur, are a bit scary, and this is what the book covers convey. But the names are almost always caricaturalized, and this is what disturbs.
. In this case, the work is an arrangement of monotypes, in which the hand-dyed pictures reflect the sentiments of the artist and the public at large. The truth is that he is a mystery to some; there is only the clear and present name of the artist and the fact that he is what he is.In the past, Saenz has been among the loudest and most dramatic of those artists who have used large scale, abundant imagery, a glassy style, a well-executed technique and a cinematic vision to create work that reaches a great many spectators and subjects. His recent show (organized by the Museum of Contemporary Art) confirms that he remains as dramatic, and as perplexing as ever, but in a new light.
. There is no claim that any person, event or location is real. The installation is truly a work of fiction.Cindy Sherman is a prominent figure in the photography world. Her photographs are well known and have appeared in major art collections such as the San Francisco Museum of Art, but they are also being published by a well-known general art dealer. The publication of her images, usually in book form, by a prominent general dealer will certainly deal a blow to the work of a number of Bay Area photographers, who have been inspired by Shermans photographs. For example, J. M. W. Turner, one of Shermans co-exhibitors, has described her work as a mirror image of the gallery. Of course, they both see the world as images—both individually and as images. And both have established themselves as responsible executors of the image world—both the artist and the dealer.