"When the fissures between the mind and matter multiply into an infinity of gaps, the studio begins to crumble and fall like the House of Usher, so that mind and matter get endlessly confounded."
Robert Smithson, ‘A Sedimentation of the Mind: Earth Projects’ 1968
Kent Monkman - The Treason of Images, 2008
24” x 30”
acrylic on canvas
collection of the artist
(click through for super hi-res)By virtually travelling back in time in order to occupy the romantic landscapes and scenes that became the source of manly noble Native stereotypes, Monkman claims them as his own territory – a territory free of the borders of time and space, where he is the master of his own history, sexuality, and identity. Muñoz writes that masculinity is “a cultural imperative to enact a mode of power that labours to invalidate, exclude, and extinguish faggots, effeminacy, and queerly coated butchness.” In the creation and performance of Share, Monkman refutes the static and masculinized imagery of the Indian; his location in the present/past allows him to speak from within but beyond the boundaries and confines that have kept this image in the fixed past for over a century.
"Forgotten Yugoslavian Monuments" LINK to ArchDaily
Le révélateur (1968)
Images of disaster: Japanese Earthquake and Hurricane Sandy
Mausoleum for the Reality Based Community
Caroline Blackwood, 1950s
photo: Walker Evans
Hollywood Premiere Motel, Los Angeles
2 views of the Metropolitan Building, Detroit, Weston & Ellington, architects