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Pictures in Pictures poses the deceptively straightforward question: why are images within images so captivating? The exhibition does not provide a clear answer, nor does it present a shared rationale for why artists incorporate other pictures within their compositions. Jaimie & David Field | Marie & Joseph Field Galleries (154,155)
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Goldsmith Curatorial Fellow in Photography Waiting for Tear Gas will be featured in context with approximately 35–50 works that explore representations of protest to not only convey an important piece of politically engaged art, but to also provide an opportunity to reflect on our own cultural moment and the museum’s role as a prominent backdrop to many of the city’s most iconic moments of protest. The theme of protest offers up visual possibilities for artists to transform into a compelling picture of public expression. They appear, in turn, both organized and chaotic. The act of public dissent has long appealed to artists for a variety of reasons as protests contain moments of great intensity and periodic stillness. Protests highlight coordinated masses as well as exemplary individuals. The installation takes Sekula’s complex negotiation of politics, portraiture, and most importantly, protest, as its starting point. According to the artist, the resulting work represents “a simple descriptive physiognomy” that illustrates how “the alliance on the streets was indeed stranger, more varied and inspired than could be conveyed by cute alliterative play with ‘teamsters’ and ‘turtles,’” a reference to the highly visible coordination between organized labor and environmentalists at the event. Viewers of the slide show confront a procession of the various people Sekula met in the crowd that day. The piece consists of eighty-one 35mm color slides that document Sekula’s participatory observation of the protest, sequenced and projected at nearly life-size scale on a continuous loop. Lynne and Harold Honickman Galleries (156,157)Īllan Sekula’s Waiting for Tear Gas is a monument of politically engaged art created in the wake of the anti-globalization protests that rocked Seattle, Washington, in late 1999.