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5-2-1995
Synecdoche
Isabel Chicquor
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g
Rooobizmaa
RIT LIBRARY
de-fense ( di
defensus]
harm
or
defends;
fens', defens)
1. the
act or power
danger 2. the fact
means
defending
of
as
<LL.defensa <
fern, of L.
against
attack,
guarding
defended
3.
a)
something that
of being
or state
for
or support
or
protection
by
speech
b)
a plan or system
or
writing;
for
vindication
by boxing
Uz my buba hut
a
<OFr.
of defending,
or resources
4. justification
5. self-protection,
n.[ME.
thesis defense
gahat
beytzim
by Isabel
Chicquor
Tuesday, May 2, 1995
high
Gannett
Building
seminar
de-fen-sive (siv)
L. defensus:
see
adj.[ME.
noon
& OFr.
room
7B
2 0 5 0
defensif, ML. defensivus,
DEFENSE] 1. defending 2. of or for defense
3. Psychol, constantly feeling under attack and hence quick to justify one's
1. orig., something that defends 2. a position of defense: chiefly in
actions-
the
phrase on
the
defensive, in
a position
that
makes
defense necessary
Submitted in partial fulfillment ofthe Requirements
for the Degree Master ofFine Arts
Imaging Arts Program
School ofPhotographic Arts and Sciences
Rochester Institute ofTechnology
May 1995
Je!JWeiss, Thesis Board Chair
Rick Hock
Allen Vogel
Michael Hager
PERMISSION GRANTED
Title of Thesis:
SYNECDOCHE
I, Isabel Chicquor hereby grant pennission to the Wallace Memorial
Library of the Rochester Institute of Technology to reproduce my thesis in
whole or in part. Any reproduction will not be for commercial use or profit.
Sign&~:~OC
Date:
in 1992 I
my
came
to RIT
with a specific
history. It
my strength, but
was
also
weakness.
I had
an aesthetic that
I believed in the
had its
had been
modernist
finely
discrete, self-generating
own
dictated the
attitiudes and
honed
by
24
years of art training.
tenet of "truth to materials", that
aesthetic.
ideas I had
each medium
My developing
about almost
aesthetic
everything, as it does
today.
As
an undergraduate
beautiful
of
studio,
in painting in the early sixties, I
materials, surface, style,
-
not
structure.2
composition
-
understood what was
through the
experience
theory. Subject matter was minimalized in favor of pure
And
what
I learned became
so
fully integrated,
it
was
like
breathing.
This paper is an
thesis
adaptation of my
defense delivered on
May 2,
1995.
At the
same
work.
It
time I'd had 3 years
was
the
history
of
of art
Western
history
Art;
no
which supported the studio
women, no
blacks,
and
little
theory.
Someone like Duchamp, for example, was given little mention. For me he
I didn't find amusing. Dada and
was a mediocre painter whose work
Surrealism
played a
very
minor role
were not
and
psychologically minded,
illustrative, which I did.
in the
scheme of
one could
find the
things and if one
work
heavy-handed
If I had any influences when I started graduate school in 1965, it would be
from artists like Kline, Rothko, DeKooning, Motherwell, and Rauschenberg.
I
was
I
embraced
fully
committed
every
to Abstract Expressionism.
mark and splat.
Artists like Bruce Nauman
and
John
Baldessari, in 1965, believed painting to be dead and sought within the
milieu of West Coast conceptual artists new ways of visual expression. I
mention
these artists in particular for their work allows me to situate mine
within an art
historical
context.
FIRST QUARTER
It is
now
twenty-five years since
I have the
graduate school and
I have consciously
ignored the work of the last fifteen
same aesthetic.
because I didn't like it, I didn't
it, I just didn't get it.
years
understand
The
of
it was, the
more non-retinal
less I
could enter
into
some
kind
dialogue.
Since coming to
gled
that
mightily
RTT, I have strug
with
the
recognition
growth required change.
how to do it
honestly
cally
remained
most
in my
process...
the
mind.
But
and authenti
problem
fore
For me, the
the making of art,
always took precedence over
meaning.
While here,
artists and movements
particular
have
not
influenced my work directly. I
believe (like the modernist I am)
that the answers
When I
entered
tographs
of
the
lay
within me.
RIT, my
last
were architectural
pho
eight years
in
nature and
emulated aspects of painting.
began
tives
ing
by
and
the
lage
I
nega
using my existing
investigated manipulat
formal elements, using
col
and mixed media.
s
SECOND QUARTER
Much like Ed Ruscha's
Strip), I
photographed
Rowley
Street.
For
it
me
the act was
served rather as a
not
project
in Los Angeles,
every house
and
important for its
I began
work on an
the process of collage.
"Growing Up
In New York
City
conceptual or critical
strategy to subvert the
formed my relationship to photography
Concurrently
(Every Building on Sunset
driveway on the 100 block of
"Celebrating My Divorce
"
compositional
until
this
implications,
editing that had
point.
autobiography relying
on art
history
and
"Graduating
"
Modernism"
Contemplating
13
From
College"
"My Postmodern Dilemma
11
"First
Child"
THIRD QUARTER
3l B*2-;
<#!
In the spring I still had a commitment to architecture and the belief that the
"transformative power of scale and the ambiguity of the mediated image
would allow me
artist statement
to
apprehend
and, was
one
the
image..."
poetic
that the
faculty
This is
a quote
thought pretentious.
from my
DECEMBER
!-:>'~
m"!
im
These grids,
SEPTEMBER 1992
MRn
made after
the third quarter of graduate
school were a compression of
The images
from
ed
used
in my first
The
photos used
page
(pi.
21)
from
to the
explore a
and print
were shot and printed
is
comprised of
fragments
architectural elements
time,
words are
was not aware of their
ed another route
Moving
for December
For the first
Though I
page were prints
Mexico
Rowley Street mural.
black-and-white
quarter.
for the September
quarter.
originally for the
The March
the year's activities.
taken previously in
negatives
1992
to generating
abstraction
(pi.
non-objective
variety of ideas
itself.
\M**W *n fiHi^M
of
taken spring
included.
impact, they
suggest
images.
22) to representation
24), I continued to
(pi.
hoping
an
easy
solution
would reveal
NOVEMBER 1992
"
Tl
M"!\T
MTVfsD\S
Ui'^LW
u">Sf>DAV
THURSOU
r.Ki[\\-\
>.\ll.RI>\\
22, 23. 24
FIRST
QUARTER, SECOND
Because
of
ongoing
problems, I
was
YEAR
perceptual
tested at the
Learning Development Center.
By legal guidelines I am now con
sidered dyslexic. The faculty con
gratulated me on
the "fortuitous
handicap."
I
switching letters
am cognizant of
when
I write, like
Chartres,
"Alan", it
charters and
I
or when
speak.
might come out
Called aphasia, this
prompted
(anal)
later, ship
I began
binary
the
phenomenon
my pairing
with
(alien)
If I say
"Anal".
of
Freud
wrenches and
with sheep.
work on what
I think
of as
oppositions, using words as
basis for images: evil-live,
meat-team, emit-time. The asso
ciative path which connected
work was not
others.
The
easily
this
understood
by
work was seen as
closed and self-reflexive.
For me,
some of the
not
accessible
only
ous.
Juxtaposing
diptyehs
God
and
provoked variations on the
Plate 27 is
the
were
but seemed
entitled
obvi
dog
theme.
Catholicism,
more restrained pair
to the
right
Lutheranism.
25, 26, 27. 28
^il>;
-:i
During fall
these pairs
tiguous
quarter review all of
were shown
band,
placed next
with
to Live
(Elie Wiesel
and
Recognizing the
in
a con
Sheep and Ship
and
Evil
Nazi Germany).
associative rela
tionships: sheep, swatstika,
vivor, ship, I was reminded
sur
of the
Bruno Bettleheim essay in which
he described the Jews walking
'like
sheep'
chambers.
time the
what
into the
a nation of
I
realized
potential
of
the
gas
first
for sequencing,
Minor White
"cinema
for
referred
to as a
stills."3
29, 30, 31. 32
LAST QUARTER, SECOND YEAR
ipiil
ipis
11
"Irony"
Bruce Nauman
"Drill Team
"
I have included the
Nauman
and
work of
Baldessari to
show
the similarities that lend credibility
to my ideas. I
fairly
have
isolated way
worked
in
a
and was not
aware of specific works of
theirs,
or of the parallel relationships that
existed
between theirs
and mine.
"A Pair of Boxers
John Baldessari
"Eagle/Rodent"
36
"He Never
Said"
Bruce Nauman
"Violins Violence Silence
Like Nauman's
"
"Nijinsky, Stravinsky & Kandinsky
photographs
(pi.
33)
in the mid-sixties, my work this sec
ond year was dependent upon its
verbal
title for
meaning.
The relationship of picture to word
is a precarious one. Although some
images based
on word
play do
for interpretation,
when titled, their potential for
interaction diminishes.
remain open
All
of
this activity reflects an
interest in
words and
which relies on
juxtaposition
the
humor,
one
incongruous
"Waves, Wasps, &
of both sight and sound.
"Marey, Moire, Time &
Emit"
10
Wacs"
"Desert and Dessert
"In everything
convulsive
that
laugh,
"
thing
absurd.
is to
excite a
there must
be
lively
some
"
Contemporary philosophical thought on humor uses the three traditional theories
of humor:
Superiority, Incongruity, and Relief. The concepts which comprise
the Incongruity
Kant
theory provide a framework for my work and lend validity to
my ideas.
John Morreall explains this theory as
"
the essence of amusement in our enjoy
5
systems."
ment of experiencing
As
a pun made
visual, Desert
with our conceptual
and
Dessert compares two different things
with some common reference.
something which clashes
Like
humor, it looks
at
familiar things
compares them
in
an unfamiliar way.
and
My prior work (pi. 42) involved visual non sequiturs, what I consider intrusions
upon
continuity,
a violation of expectations.
I continued to be preoccupied with
discontinuity. Disparate relationships were translated by my board as desperate
diptychs.
(&0M. U!/
,
.;
d
if
GUV:
it
'
-
ho*-
dk'va.
-
V*
dM
Mid
c*y
(MlfA.
uUffJ
UP
irt-
4r^>
K
Bruce Nauman
"Run from
Bruce Nauman
Fear"
"Sore
Eros''
(twfit
hxk. \uk Wai
45
a page from
my
sketch
tW
f
nf<&p
48
book
ASHIFTOFWIT
n
"Me
as the
Artist
"Artist
Trying to
be
Conceptual"
John Baldesarri
"Gavel"
Baldessari, influenced by Man Ray's
series in the early thirties 'Testerday,
Today & Tomorrow", blocks the faces
on
figures, applying his conceptual
I don't really
gave
it my
understand
spin and
this work,
spin.6
but
from the autobio
graphical series reworked several pieces.
"The
"Wanting
Sorority
minded
"Mother
12
Child"
and
to
be
People
"Misplaced
with Like"
Halos"
John Baldessari
"Team"
BU;-
IS
,',
i
K!
4
*
-v
t
"Balls'"
i
*
*
HP
an*?
*-*..
tgj^;
=rsn;
--
i
,,-rs=
_....
H
"Meatballs'
13
ffln&a
UI.1AB*
*
y
W
s
F
*
J
W
These
on
are
the last diptychs
made
words are seen with
this
work
is
still
reference
Art"
58.59
14
work
images. Although the idea for
driven
by
association, the
longer merely illustrate the
"Philosophy and
before I began
my thesis exhibition. It is also the first time
is broader.
words and the
pictures no
frame
of
THESIS
EXHIBITION, THIRD YEAR
|320
it
66
^Wi'40:,,;>l22
12
523
2 4$ "17 5
125
j~V
472
33
542
3
149
.
synecdoche
A Photographic Project
with a Premise
by
Isabel
Chicquor
Gallery-
Mercer
Monroe
College
COfflnunity
Building
4
1000 East Henrietta
27
March
through
Road
April
7
Reception
Opening
Saturday.
7
:
00
-
April
9
:
1
00
60
Synecdoche, from
the
figure of speech in
used
to
represent
Greek, is
a
which apart
is
the whole.
1 he overarching idea of this
of meaning.
groundwork
than 30
who
premise
will create
parate,
The
The
meaning
from
years ago.
believed that the
work of
is the construction,
or more
or deconstruction,
images, however dis
greater than the sum of
which
The
work
is that any two
these
notion of
ideas
parts.
evolved was established more
"reading the
viewer should read
its
image,"
from Minor White,
the photograph as one would a
literature. White's photography "focused on the individual image
images as an independent unit of meaning unrelated to
or sequence of
biography,
writes
camera
Jonathan
technique,
or precedents of photographic
Nathan Lyons thought that the
more naturalistic
nature of sequence
perceptually than the
straight
"might be
15
in the Appendix)
it does
considered
photograph."8
While Sergei Eisenstein held that the "juxtaposition
resembles not so much a simple sum as
ment
history,"
Green.7
of
two separate shots
creation."9
(See
artist state
To
develop
an
inventory
or
image base I
went to the picture
files
of
the
Rochester Public Library.
Initially
based
the
I
was
on the
file
and
r
0
16
They
based
said
the
project
that the
With further
WPA project in the 30's. It
on the same general collection
they
in the future. The
years.
embarked on
was started as a
erated system
books.
told as I
Dewey Decimal System.
collected what people were
same
librarian has
vertical
inquiry
was an
file
I found
was
internally
policy they
used
the
out
gen
for
likely to ask for now
managed this
file for the
past
20
I
chose
from
each subject
images, images
about
heading
what
the world and
I thought to be
from
tion I tried to be inclusive. But any system
tion of culture and by definition exclusive.
11
-5
Vii.J
@*
u
-J,,.--'-
7-
J 73 e>;-/JiV
<*Ja
_
mi4u:
88
17
prototypical
around the world.
of
this
sort
With inten
is in fact
a codifica
Putting images
that
I did has
than
of
provide answers.
images
they
together
are
come
in the way
raised more questions
What kinds
these? Where did
from,
what was
their
What editing process
took place? How many times did
purpose?
it take
w
place?
Assuming
the validity of
"image
text", what sort of presentation
would further the concept? What
as
was
how
I asking
of the viewer and
would presentation effect
those
demands?
What
philosophical
implications
about systems: semantics and
syntax,
fixity
intentionality,
indeterminancy, classifi
chance and
and
cation and codification
I became
?
concerned with
process,
presentation, participation,
lation,
i~i
instal
performance and philosophy.
h.J:J
>,
2h 7
ff
/'""/
.
A;v
<;7r-
"9o
were there?
What
Ho
;..
.
.-Ss*
i
Relying on the history
of
chance, (Joyce
Duchamp
with
music and
puter
and
with
art, Cage
words) I
currency
words,
with
used the com
to randomly choose 49
images, 49
would
out of
652. The 49 that
around the walls of
wrap
the gallery to convey a continu
infinity, spilling out
beyond the gallery into a public
um... an
where a video monitor
setting
plays all
For
six
mined
652 images.
days the
deter
computer
the order of the
for five days there
was
work and
human
intervention.
74
Some
people paired
individual
images, moving from
another.
of
Others
one
image to
made groupings
seven, eight, or ten or more,
forming
narratives of
lengths. To
varying
alter syntax some
photographs were
turned
upside
down.
The exhibition changed daily
at
5:00.
19
Form and Meaning:
A N'ore on the
Pheni'rrn.'nolofiy
of
Language
76
In
an art review
Colin Gardner
describes Baldessari's
ing, acknowledging
philosophical
work as
and
debate."
honor
spoofing the
The table
at the center never changed.
crum, the
point
whose
from
horizontal
shrine or
which
parallel planes
homage it
It is
a
functional table; it is the ful
the 49 images revolve. It is an altered altar
twist away
from its
central axis.
As
plays with paradox.
Derrida's Margins of Philosophy is laid open, but inaccessible. It floats as
if weightless, but is in fact a weighty text. It talks of indeterminacy but is
fixed in
layering
20
place.
of text
Like the
like
resin
in
palimpsest
which
it is cast, it too is dense;
invites interpretation (pi. 76).
yet
the
"...to
some
degree everything is
For example,
in
etable and round
association.
doughnut
suitjhen
to
connected
potato crosses with
From
shape.
snake
to
life preserver,
bathing to sea,
sea
apple,
From
to everything
because both
apple
to snake,
syringe
to
hole, hole
veg
Biblical
doughnut, by formal likeness. From
and
from life
preserver
to ship, ship to shit,
shit
toilet to cologne, cologne to alcohol, alcohol to
syringe,
by
else.
are
to
bathing
to toilet paper,
drugs, drugs
to ground, ground to potato.
to
""
Umberto Eco
This
quote
gallery.
by
Eco
was affixed
It introduced the idea
to the images inside
of
were as
to the
glass wall at
of association.
important
Its
the entrance to the
position and
relationship
as the placement and significance
Derrida's book.
If there
was a
strategy, it was in understanding that meaning is derived
from context, and once context is changed, new meaning is created.
I have tampered with systems creating randomness within intentionality
and
intention
For me this
21
within randomness.
work represents a
beginning rather than
an end.
yVcOTES
"
1. "Uz my buba hut gahat beytzim, hut da buba gavein da zada.
This is a Yiddish expression said often by my mother to teach
me
the
futility
had balls,
2. Jonathan
of
she'd
lament Translated it
be my
means
"If my
Green, American Photography
p.
15.
3. Peter C. Bunnell, Minor White The Eye that Shapes
4. John Morreal, "The Rejection
Philosophy
5. Ibid.,
p.
East
and
grandmother
grandfather."
of
p.
26.
Humor in Western Thought",
West, 39,
no.
3
(1989) 248.
244.
6. Colin Gardner, "Bewildering", Art Forum. (December 1989)
7.
Green,
p.
109.
72.
8. Persistence of Vision (New York: Horizon Press,
9.
p.
1968)
p.l.
Image"
The Film Sense, trans, and ed. Jay Leyda,
Eisenstein, "Word and
(New York: Harcourt, Brace and Co., 1942) pp. 7-8, quoted in
Art Forum, p. 110
Gardner,
"Bewildering"
10.
Gardner,
p.
11. Foucault's
1989)
22
p.
109
Pendulum, (San Diego: Harcourt, Brace Jovanovich,
618
List of Plates
1-2
Stoneware,
glaze,
Clay
paint.
3-7
Collaged 8
xlO
printed
8
Rowley Street,
( 1966 )
in. C prints, rephotographed
16 x 20 in. (1992)
a
in
slabs made while
Alfred.
graduate school at
and
3 1 foot long color photograph
54 negatives. (1992-93)
which utilized
9-14
All
pieces made
for the autobiography
collage and xerography.
15
Two 3
x5
in.
guide prints
used
(1992-93)
taken, Patzcuaro, Mexico.
(1989)
print, 34 1/2
16
Gelatin
17-19
Gelatin
20-24
Calendars, Collaged C
silver
silver
14
x
prints, 39 x
21 in.
x
48 1/2 in.
(1993)
41 in. (1993)
prints, polaroids, calendars,
(1993)
Gelatin
33
Nauman, Drill Team, C-print, 19 7/8
(1966-67)
34
Irony, Toned
35
A Pair of Boxers, Toned
silver prints,
20
40 in.
25-32
x
gelatin silver
(1993)
print, 40
23 3/4 in.
x
x
60 in. (1994)
gelatin silver print,
40
x
60 in.
(1994)
36
Baldessari, Eagle/Rodent,
photographs, 24
x
two black-and-white
60 in. (1984)
He Never Said, Toned
38
Nauman, Violins, Violence, Silence, neon tubing with
clear glass tubing suspension frame 60 1/2 x
gelatin
silver, 24
in. (1994)
37
x62
66 1/2x6 in. (1981-82)
39
Nijinsky, Stravinsky, Kandinsky, Toned
print, 30 x 60 in. (1994)
40
Waves, Wasps, & Wacs, Toned
20
41
x
100 in.
42
23
gelatin silver
C print, detail
x
prints,
(1994)
Marey, Moire, Time & Emit, Toned
prints, 20
gelatin silver
80 in. (1994)
gelatin silver
print, 8x15 1/2 in.
43
Desert & Dessert, Gelatin
44
Nauman, Run from Fear, Fun from Rear, neon tubing
with clear glass suspension frame, two parts:
8
45
46
x
2 1/4 in.
x
silver
and
7 1/4
x
44 1/2
Nauman, Sore Eros,
pencil on
red, orange, and green
paper, 19 5/8 x 25 5/8 in.
46
A page from my
47
A
48
Baldessari, Gavel, Two black-and-white
Shift of Wit,
x
2 1/4 in.
(1972)
colored
(1974)
notebook.
A title for
with vinyl
one of
paint, 48 1/2
49-54
Autobiography,
55
Baldessari, Team, Color
xerography
my reviews, 3
with colored
and
black-and
(1993)
photographs
30 1/4 in.
x
21 in.
x
(1987)
labels, (1995)
white
photographs with vinyl paint and metallic paper,
69 1/2
x
88 1/2 in.
56
Balls
57
Meatballs, Gelatin
,
(1987)
Gelatin silver prints
20 x 40 in. (1995)
20
x
with green
labels,
silver print with green colored
labels,
40 in. (1995)
58-59
Philosophy and Art, Two
60
Poster designed for the thesis
61
Mercer Gallery, Installation
62-69
Images from Synecdoche, Toned
20 x 20 in. (1995)
70
Thuraya Cable
and
gelatin silver
prints, 42
exhibition
shot of
by
19 in.
x
(1994)
Karen Santoro.
thesis exhibition.
gelatin silver
prints,
Mark Johnson reordering the
the third day.
photographs on
71
Notes showing their
72
Installation
73-75
Installation shots, interior.
76
Right hand
shot
system
for rearranging the
showing their bookends
page of
the chapter
The Phenomenology of
Margins of Philosophy.
11
Welded
steel
78
Mercer
Gallery,
79
Alan Phelan rearranging the
24
table, book,
"Form
approach.
and
Language"
polyester resin
work.
Meaning,
from
(1995)
entrance.
photographs on the
fifth day.
VPPEND1X
ARTIST STATEMENT FOR
SYNECDOCHE
608,281,864,034,267,560,872,252,163,321,295,376,887,552,831,379,210,240,000,000,000*
The underlying premise for this work is that any two or more images placed side by side
will form meaning greater than
any image individually. The idea is simple, its ramifications
complex.
Of the 652
randomly
rephotographed**
chosen
by
human intervention
images
computer.
Each
shot
for this exhibition,
day the sequence
the
of these
forty nine you
images
see were
will change
through
or with the aid of a computer program of pseudo-random numbers:
happening and happenstance.
In
support of
this thesis:
"...but so strong is the mind's inclination to turn
juxtaposed images into something meaningful that every
alert viewer will find some way of
associating and
thematizing these images, even as he or she recognizes
that they were never intended to be seen
together."
Recycled Images, William Wees
When "...text is read independently of the author's intentions,
it remains indeterminate-that is, capable of an indefinite
diversity
of
meanings."
A
"The meaning
Glossary
of
Literary Terms, M.H. Abrarns
image is changed according to what one
it or what comes immediately
after it.
Such authority as it retains, is distributed over the
whole context in which it
sees
of an
immediately beside
appears."
Ways
*This
**
26
All
number represents the total possible combinations of
appropriated
images
come
from
the picture
file
of
of
Seeing, John Berger
arranging 49 images.
the Rochester Public Library.
Pseudo-
wall position
1
day
day
2
day
4
day
6
day
Random Number Table
9
day
11
1
7
38
13
3
28
26
2
18
32
26
39
20
42
3
1
14
2
47
42
21
4
30
22
38
48
19
23
5
23
27
49
19
29
33
6
2
40
40
4
30
25
7
39
2
33
44
11
48
8
36
41
45
15
45
14
9
5
29
6
43
48
32
10
29
30
7
20
4
37
11
26
44
39
7
13
13
12
22
4
17
1
37
27
13
34
18
23
16
21
17
14
11
16
41
49
17
11
15
15
10
21
18
14
18
16
41
28
32
17
47
15
17
28
3
10
6
36
46
18
14
36
11
31
12
10
19
49
13
30
42
16
8
20
8
17
25
23
7
28
21
42
1
36
32
35
30
22
27
33
5
28
18
34
23
44
21
14
12
3
40
24
24
25
46
26
24
9
25
40
39
12
30
23
4
26
12
49
29
24
40
2
27
46
42
27
10
49
43
28
4
23
24
11
44
44
29
25
12
34
21
34
39
30
37
47
19
34
1
12
31
3
15
16
38
5
45
32
47
11
18
41
10
16
33
32
45
47
33
8
31
34
48
20
22
27
15
19
35
38
35
35
29
38
38
3
36
9
5
43
22
43
37
35
48
37
46
22
6
38
43
37
1
25
6
24
39
19
34
42
40
27
36
40
6
31
15
14
25
29
41
20
24
4
35
31
1
42
45
7
3
36
26
5
43
17
46
31
37
46
22
44
13
43
48
9
2
41
45
10
26
20
5
33
20
46
31
8
44
45
41
49
47
21
9
9
2
32
7
48
16
6
8
8
9
35
49
33
19
28
13
39
47
27
CHANCE
DAY ONE
random
DAY TWO
random
DAY FOUR
random
DAY SIX
random
DAY NINE
random
The
following four pages
images
show comparisons
stamps as a point
with political or representational
28
between
what people chose
to
place after certain
randomly by the computer. I selected the middle image of letters and
of reference. I thought of it as neutral, one that was not particularly embedded
and what was chosen
issues. I
also thought
it
was
interesting aesthetically
.
INTENTIONALITY
DAY THREE
arranged
two
fine
by
art students
DAY FIVE
arranged
an artist
by
from Ireland
DAY SEVEN
arranged
a
health
a
fifth
by
educator
grade
&
teacher
DAY EIGHT
arranged
a
philosophy
by
professor
DAY TEN
arranged
an artist/
by
teacher
29
CHANCE
DAY ONE
random
DAY TWO
random
DAY FOUR
random
DAY SIX
random
DAY NINE
random
In
contrast
to the stamps, I chose a loaded
image,
one
I thought
was embedded with
issues
of gender
having lipstick; applied to her open mouth. Note in the comparison
31), that every photograph following the lipstick image contains male figures
and representation: a woman
which
follows (p.
dressed in
30
some
form
of uniform,
carrying either a weapon
or tool.
One
can
only wonder of the intention.
INTENTIONALITY
DAY THREE
arranged
two fine
by
art students
DAY FIVE
arranged
an artist
by
from Ireland
DAY SEVEN
arranged
a
health
a
fifth
by
educator
&
grade teacher
DAY EIGHT
by
arranged
philosophy
a
professor
DAY TEN
arranged
an artist/
by
teacher
31
Wcorks Consulted
Abrams, M.H. A Glossary of Literary Terms, 5th Ed.United States:
Holt, Rinehart,
Winston, Inc., 1957.
and
Barlow.Horace, Colin Blakemore
and
and
Miranda Weston-Smith,
Understanding. New York: Cambridge
eds.
Images
University
Press, 1990.
Berger, John. Ways of Seeing. London: BBC & Penguin Books,
1972.
Bruggen, Coosje van. John Baldessari. New York: Rizzoli International
Publications, Inc. 1990.
Bunnell, Peter C. Minor White, The Eye that Shapes.Boston, Mass.: The
Art Museum, Princeton University, Bulfinch Press/Little
Brown & Co.
1989.
Cage, John. Rolywholyover A Circus. New York: Rizzoli International
Publications, Inc., 1993
.
I-VI. Cambridge, Mass.: Harvard
University Press,
1990.
Farb, Peter. Word Play. New YoricBantam Books, 1973.
Gardner, Colin.
"Bewildering,"
Goldstein, Jeffery
and
Artforum, (December 1989)
Paul McGhee,
Theoretical Perspectives
and
eds. The Psychology of Humor.
Empirical Isssues. New York:
Academic Press, 1972.
Green, Jonathan. American Photography. New York: Harry N. Abrams,
Inc., 1984.
Hicks,Wilson. Words
and
Pictures. New York: Harper & Brothers
Publishers, 1952
Kohl, Herbert. From Archetype
Company, 1992
to
Zeitgeist. Boston: Little Brown
and
Mich, Daniel. The Technique of the Picture Story. New York: McGraw Hill
Book Co., Inc., 1945
Morreall, John,
State
32
ed.
77ie
University
of Laughter and Humor. Albany:
New York Press, 1987.
Philosophy
of
.
East
and
"The Rejection
West, 39,
no.
of
Humor in Western
Thought"
Philosophy, Milan: Flash Art Books, 1991.
Politi, Giancarlo.
ed.
Simon, Joan,
Bruce Nauman. Minneapolis: Walker Art
ed.
Art
Philosophy
3 1989.
and
Center, 1994.
Thomas, Lewis. Et Cetera, Et Cetera. New York: Penguin Books, 1990.
Wees, William C. Recycled Images: The Art and Politics
Films New York:
33
Anthology Film Archives,
1993.
of Found Footage
RIT LIBRARY
DAY ONE
randomly
arranged