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Afterimages (Field of Vision) by Stephanie Syjuco

Afterimages (Field of Vision) by Stephanie Syjuco

Catharine Clark Gallery



Edition Size: 20 plus 8 proofs

Image Size: 16 x 20 inches

Sheet Size: 18 x 24 inches


Condition: Pristine

Details — Click to read

Photogravure printed on gampi mounted on Somerset black 280 gram cotton rag; re-edited photograph of an ethnological display of Filipinos from the 1904 St. Louis World’s Fair. Printed by Paul Mullowney and Harry Schneider in an edition of 20 plus 8 proofs. Co-published by BOXBLUR, Catharine Clark Gallery, and Mullowney Printing, San Francisco, CA and Portland.

Image: 16 x 20 inches

Sheet: 18 x 24 inches

Note: Crumpled/folded gampi is proud by 1/8” from back mounted layer of Somerset

About “Afterimages”:

The physically manipulated photogravures in the series “Afterimages” are based on visual research that the artist conducted at historical museums in St. Louis and during a 2019 Smithsonian Artist Research Fellowship. In this response, ethnographic images of a “Filipino Village” on display at the 1904 St Louis World’s Fair are reedited through crumpling and folding to deny their imagined function as anthropological evidence, and to reveal their presentation as inherently fabricated. By utilizing the traditional medium of photogravure, Syjuco furthers her exploration of how photography and early imaging forms are linked with the production of American colonial history. Special thanks to The Contemporary Art Museum St. Louis and The Luminary for supporting the initial research for this project.

Works from this project are held in the permanent collections of the Metropolitan Museum of Art; Cantor Arts Center at Stanford University; Allen Memorial Art Museum at Oberlin College; Ringling Museum; Stanley Museum at University of Iowa; and Crocker Art Museum, among other institutions.


The Artist

Stephanie Syjuco

Stephanie Syjuco works in photography, sculpture, and installation, moving from handmade and craft-inspired mediums to digital editing and archive excavations. Using critical wit and collaborative co-creation, her projects have leveraged opensource systems, shareware logic, and flows of capital, in order to investigate issues of economies and empire. Recently, she has focused on how photography and image based processes are implicated in the construction of racialized, exclusionary narratives of history and citizenship.

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