My short essay “Cross Pollination” has been published in Early American, a monograph devoted to the series of the same name by photographer Sharon Core. The book is available now from Radius Books. Here is an excerpt, taken from the middle of the essay:
Like [Raphaelle] Peale’s paintings, Core’s photographs possess remarkable descriptive detail, which contrasts with their plain, indistinct environments. The objects of our attention rest on a ledge or table of indeterminate scale; the backdrops at times blend seamlessly into this horizontal surface. A gentle light suffuses each scene, often from one side of the image, its source unknowable. The compositions, too, are meant to be unobtrusive. Peale centered his objects, which are arranged in stately, pyramidal heaps. They are placed uncannily close to the viewer, the better to highlight their anatomical detail. These choices are partly unique to Peale, and partly a function of the time in which the paintings were made. In early nineteenth-century America, before the invention of photography, still lifes were not only objects of aesthetic delight, but also tools of instruction. They were a way of recording the country’s bounty, and of demonstrating to Americans the specific qualities of that bounty.
It took Core long hours to collect the items (both organic and inorganic) necessary to re-create Peale’s compositions….
Core will be signing copies of the book at Yancey Richardson Gallery, 535 West 22nd Street, on Wednesday, November 28, from 6:00–8:00 PM.
Sharon Core, Strawberries and Ostrich Egg, 2007, color photograph, 17 x 23".
Over the weekend my review of Sharon Core’s new exhibition at Yancey Richardson Gallery was published on Artforum.com. It begins: “What pictorial genre seems to require less interpretive acumen than the painted still life? Accumulations of fruit and fish and fowl are all exquisite surfaces, and invite surface readings. But photographer Sharon Core, after making a reputation with images of her re-creations of Wayne Thiebaud’s dessert tableaux, proves once again with her exhibition ‘Early American’ that profound questions of representation can reside within simple compositions.” The title of her exhibition references her use of early American painter Raphaelle Peale’s still-life paintings as sources. In browsing catalogues, monographic studies, and journal articles about Peale while preparing the review, I came across one book that seems particularly interesting: Alexander Nemerov’s The Body of Raphaelle Peale: Still Life and Selfhood, 1812–1824 (University of California Press, 2001). Core’s exhibition remains on view until December 6; for a selection of images that are larger than the ones available on the gallery website, please visit this post on the The Moment, the T style magazine blog.
Published on Artforum.com on November 9, 2008. To see the review in context, click here.
Sharon Core, Strawberries and Ostrich Egg (Raphaelle Peale), 2007.
What pictorial genre seems to require less interpretive acumen than the painted still life? Accumulations of fruit and fish and fowl are all exquisite surfaces, and invite surface readings. But photographer Sharon Core, after making a reputation with images of her re-creations of Wayne Thiebaud’s dessert tableaux, proves once again with her exhibition “Early American” that profound questions of representation can reside within simple compositions. Core’s muse for this body of work, the early American painter Raphaelle Peale, is smartly chosen. In the past two decades, scholarship about the hundred-odd still lifes he created in Philadelphia between 1812 and 1824 has elucidated their strangeness, a fact that gives an added edge to the ten small-scale photographs presented here. As with her earlier series, Core’s pictures are approximations of a painted precedent once removed: Instead of working from Peale’s canvases, which, like Thiebaud’s, reside in museums scattered around the world, Core has re-created with uncanny accuracy color reproductions of his compositions found in books. In some works, she has left behind the strict mimesis of her Thiebaud series in an attempt to “inhabit” Peale’s prephotographic visual imagination. There is a palpable tension between the uncomplicated attractiveness of the luscious, softly lit, exacting images—of watermelons and day lilies, of bruised and rotting apples in a porcelain basket, of a dimpled ostrich egg and strawberries—and the elaborate means by which they were created. Not only did Core have to source the antique bowls, plates, and utensils that appear in the photographs, but she also needed to secure (and, one suspects, artificially age, prune, and otherwise prepare) the produce that takes center stage, as well as arrange her quarry and light it meticulously. The gracefulness of the resultant images masks—but only barely—her efforts, and the hall-of-mirrors instability they instigate.