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I For One by Josephine Pryde

I For One by Josephine Pryde

Texte zur Kunst



Edition Size: 100 + 20 A.P.

Image Size: 43 x 31.5 cm

Sheet Size: 43 x 31.5 cm

Reference: Texte zur Kunst #100 December 2015


Condition: Pristine

Details — Click to read

A photograph by Josephine Pryde is never simply pictorial. Rather, the Berlin-based British artist accesses the full material and discursive range of what we might take to be “photography” in her practice. And so an image’s placement along that spectrum – whether in the idiom of studio portraiture or medical imaging, an analog photogram or Giclée digital print – always bears significance too.

In “I for one,” Pryde’s edition for the “Photography” issue of Texte zur Kunst, Paris is offered up, appearing as a stand-in for the golden age of I: modernity, which is here clutched in hand as an Eiffel Tower souvenir. In the work, twin iPhones appear, one encased in a bejeweled cover inlaid with the famed tour. “This pure sign, almost empty,” Barthes said of the structure – porous but a point of observation and transmission, its beholders up/downgraded to technicians. Presumably, it is a woman who serves as operator in Pryde’s photograph. Nails varnished in junior exec red, she transmits less the ecstasy than the luxury and the agony of communication. This work – its background enhanced in post-production with a golden fill (for creative flourish) – has been printed on a high metallic gloss paper. Enclosing this is a black border, hand-drawn to approximate the frame of an iPad screen. Pryde’s image, however, is larger than a tablet and does not rotate. Rather, it is to be hung on a wall in a fixed position, possibly behind glass. As the savvy collector might say of this work: I, for one, would take it as a symbol of the always already-passé, a recognition of photography’s claim to the that-has-been.

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The Artist

Josephine Pryde

Pryde’s work attacks stock photographic aesthetic by technically reworking and reconfiguring images and by addressing the conditions of their display. The surfaces of glossy fashion photographs are disrupted by the insertion of aluminium tubes, which emphasise their ‘objectness’ and their status as artworks. Colourful photoshop juxtapositions of MRI scans of the human foetus and macro-lens desertscapes are unnervingly loaded. They refer to the history of darkroom experimentation and to contemporary medical-imaging techniques. Pryde doesn’t reject the language of photographic imagery, rather she adopts it and layers it up. Her guinea pig portraits are inspired by ‘cute pet photography’ but her choice of subject conjures associations with laboratory research. (Simon Lee Gallery)

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