Comments/Context: Sharon Core's brand of image appropriation is wholly different than a commonplace cut and paste or an easy lift and recontextualize. In previous works, her meticulous process has included baking cakes and pies, growing vegetables, and scouring flea markets in search of period ceramics and tableware, all in the name of painstakingly recreating paintings via photography, with an eye for exacting detail.
While there is a certain awe inspiring wonder that comes from standing in front of these fastidious pictures, even though we are flower collectors, I was surprisingly less than moved by the conceptual inversion being explored. I can imagine one of these pictures hanging in a collector's home, and having that person trick visitors with the image, gleefully explaining that it's not a painting but a photograph, and everyone nodding their heads in respectful, smiling amazement, putting their faces right up close to inspect the details. Or it seems likely that a museum might hang one directly next to a period painting to show the similarities and differences (see the link below). Either way, this of course dives directly into the idea of what truth means in photography, and into the evolution of approaches to "natural" picture making across various time periods. But somehow, while I was obviously struck by the technical mastery of these photographs, they made less of an overall impression than I was expecting. When the "gee whiz" factor wears off, we're still looking at beautiful floral compositions we've seen before (albeit in a different medium); I realize that this is the point, but if I tell the truth, while these are pictures I should love, they somehow left me with a sense of being slightly underwhelmed.
Rating: * (one star) GOOD (rating system described here)
- Feature: Minneapolis Institute of Arts blog (here)
Through December 23rd
Yancey Richardson Gallery
535 West 22nd Street
New York, NY 10011