From REVIEW OF MONIKA K. ADLER’S PHOTOGRAPHIC WORK: A PSYCHOLOGICAL PERSPECTIVE | DRS KEVIN ZDANIECKI Ansell Adams (1902-1984), in his concept of abstraction, intimated a similar notion: “The negative is the score, the print is the performance”1, but also, as Monika K. Adler does so well, photo- graphed just what was there, seen with whatever perception the photographer has. These ‘poli-tics of the fragments’ not only involve and display an obvious power struggle dynamic but also, because of an independence between the fragments (once so perceived), a resultant feeling of mysteriousness. In some of her photographs this apparent nothingness seems to be implicit in her use of shadow, contrast, symmetry/asymmetry, abstraction and so forth. In this way, the ‘politics of the fragment’, inherent in the photographic representation, undoes the system of representation - and like the unconscious, and the role it plays, might not (appear) to actually stand for any-thing. At least, that would be the case, for the viewer, or analyst, who is unable to have insight into the concepts this artist depicts - states and emotions of a ‘Chinese-like’ pictographically calligraphic, or even hieroglyphic nature and language.
Posted on: Sat, 21 Sep 2013 12:04:09 +0000
Trending Topics
Recently Viewed Topics
© 2015