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sharon core interview

By November 27, 2020 No Comments

If we think about the first of the still life’s traditional functions, the representation of commodity-based status, we might wonder if a watermelon was a luxury item in the 19th-century United States. In “Early American” I wanted to confront a pre-photographic sensibility, one that is also very psychological and particular to its age and a body of work that would address an American history of art and horticulture. Surely it is the dialectic between the imagined Quixote and his real existence that spurred Borges’s own imagination; the imaginary figure of Don Quixote has had a greater impact on culture than most of the real people who have lived within his life span of 300 years. Is Core’s work “richer” than Peale’s because the context around the fruit has shifted so dramatically, because it is more ambiguous? We must ask: does her work constitute homage? . Photo: Sharon Radisch; Courtesy of … Still lifes, from the Renaissance on, were generally not painted by women, yet they share women’s domestic realm: the objects depicted have often either emerged from or are destined for the kitchen, where it was (and still is) largely women who prepare them. It goes much deeper. As Benjamin wrote, “It is not that what is past casts its light on what is present, or what is present its light on what is past; rather, [dialectical] image is that wherein what has been comes together in a flash with the now to form a constellation” (The Arcades Project, N3, 1). Sharon Core, “Early American – Watermelon and Blackberries” (2009), analogue C-Print, 14 x 18 inches. But it hints at much more: questions about authorship, about original and copy, about appropriation, about simulacra, about the passage of time, about labor itself — just as Core’s photographs do. It can skew either way, and with this ambiguity Core’s work takes on yet another layer of complexity. As arts communities around the world experience a time of challenge and change, accessible, independent reporting on these developments is more important than ever. The past not only influences the present; the present also influences the past. She deserves that consideration. One-up(wo)manship? The selfie is a self-portrait by another name. Gardening is hard labor whether done by migrant workers or by suburban hobbyists. I felt this was an ideal body of work to recreate in reality because of its presence in the culture’s pictorial memory. Durer, Chardin, Picasso, Van Gogh, and more recently Wolfgang Tillmans and Thomas Demand all made/make still lifes. Copying paintings is the standard practice of art school students and of forgers — appropriation for educational or crooked purposes. What are your favorite still life photographs from the history of the genre? If I were to, say, handwrite a text and then type it on a typewriter, the result would be only a micro-shift in representation. All of photography is illusion and it always has been. But the labor Core has invested in the photographs meets or exceeds that of Thiebaud’s or Peale’s: a painting takes many hours to complete, but the growing of vegetables can take months, from seed-planting to cultivation. Still lifes do not always depict perishable goods. Fruit or cakes produced to serve as subject matter for photographs are not, first and foremost, intended to be consumed, but they will be taken up and absorbed into the market-driven art world, a detail of which Core is exquisitely aware. The eerily plausible absurd: familiar Borgesian territory. This is what poet Wallace Stevens called poetry: the supreme fusion of creative imagination and objective reality. but discarded it as too easy. The pair married in 2001 before deciding to move to Andorra in Spain in 2012 and then to Madrid last year. Italian painter Giorgio Morandi, for example, spent his career painting arrangements of ceramic vessels. And yet the great care and precision with which her photographs re-create these paintings work against the apparent carelessness and ease of sampling, quoting, riffing. I am trying to address an experience of cultural memory. That is my intention. Because Core’s photographs are produced via mechanical reproduction, they sacrifice what Walter Benjamin called “aura.” With a photograph or print there is no original; Core’s photographs can be reproduced endlessly (as can fruit from a seed — seeds that form a chain leading all the way back to Peale’s fruits). Instead, her rendering of the paintings’ subject matter as photographs acknowledges the non-identity of her work with theirs, even while she strives toward an identical-ness. After one has seen Core’s photographs, one cannot look again at Peale’s or Thiebaud’s paintings in a prelapsarian state; they are forever altered by the knowledge of her mimesis. But the excitement Stonecipher brings to these authors is the sole “new” component on view here with each layer of critique present in the work facile, tidy, concise and familiar. By Sharon MacQuarrie. Her work can also currently be seen in “Art in the Embassies” at the American Embassy in The Hague, Netherlands. Sharon watched on CNN the infamous interview the Mayor of Las Vegas, Carolyn Goodman, gave where she talked of the need to reopen the casinos. Its very demanding and requires a lot of intense mental focus and scrutiny without losing the sense of wonder and discovery. Hopefully the viewer does not need to be aware of anything but the work in front of their eyes. E.Z. Donna Stonecipher is the author of four books of poetry, most recently Model City (2015). Duchamp pinned it to his studio wall. By its mere depiction, the exchange value of the fruit has risen to inconceivable heights. I grew up seeing it through reproductions of postcards, notes, calendars, and cookbooks. The past is never completed, static, at rest; it too is always vulnerable to reconsideration. It doesn’t have a story or a hero so it is harder to discern verbally. It was never really a question between still-life painting or photography. If I had to name one still life photograph as emblematic it would be Outerbridge’s “Ide Collar,” from 1922. 1813), but the fruit depicted will literally nourish no one. A collector might pay tens of thousands of dollars for Raphaelle Peale’s “Blackberries” (ca. E.Z. Her work has also been included in the Armory Show in New York (2005), Art in America: 300 Years of Innovation organized by the Solomon R. Guggenheim Museum and presented at the Museum of Contemporary Art in Shanghai (2007), and Paris Photo at Carrousel du Louvre in Paris (2008). It has returned with a “certain alienated majesty,” to invoke Ralph Waldo Emerson’s remark in “Self-Reliance” (1841) that “[i]n every work of genius we recognize our own rejected thoughts: they come back to us with a certain alienated majesty.” In Borges’s story, the narrator recognizes in the genius of Menard’s text the alienated majesty of thoughts the culture has already long since digested. Sharon Core was born in 1965 in New Orleans, Louisiana. E.Z. What do you believe is the place and the role of still life photography within this context today? The still life refuses to speak. These color photographs impressively mimic well known still life paintings. Many of the reference points used to discuss the work (3 B’s: Borges, Barthes and Benjamin) are reasonable foundational art school figures that those reading this essay will likely have cycled through excitement about and then boredom with. Sharon Core, https://www.artsy.net/artist/sharon-core, Body in the physical and conceptual space, “Cake Counter,” from the series Thiebauds,” 37” x 72,” C-print, 2003, © 2015 Eleni Zimaraki - All Rights Reserved. From the plants grown, the food cooked and the cakes baked… to the furniture found, constructed and arranged… all in order to reproduce the already existing paintings through her camera lens! In the hierarchy of painting genres established in European art academies since the Renaissance, the still life comes dead last out of six. The narrator fulsomely praising “Menard’s idea” about history being the mother of truth as superior to Cervantes’ is a wink to the reader — the idea can only “astound” because Cervantes’ version already exists, and has been influencing thought for three hundred years. Pierre Menard is “(re)writing” a work of fiction three hundred years after the fact. This is one of the many lessons of which Sharon Core’s poetics of appropriation brilliantly reminds us. The unnamed narrator of Borges’s story tells us about the oeuvre of Pierre Menard, a French writer and critic. That is the nature of painting. I love playing on the edges of what the camera’s lens wants to see, which often involves fighting the curve of the lens, pushing the film to the darkest exposure before it all falls apart.

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