whitney stark 2

When I first got the message from Jon to help with this project and he discussed the end of the medium, an era of this specific kind of representation, and how his project would use these modern, lasts slides of kodachrome to reference its history, I began searching kodachrome archives, to see how the medium has been used, glorified, and become its own.

My favorite archives were found in the Library of Congress, with their World War II Industrial and Rosie the Riveter photos. So, I’m definitely a feminist and could go in to the original use of Rosie in these photos and the intention of use of an all female, modern girl gang to replace all the factory workers in the chosen photos I re-presented, but mostly, in this instance, I think that placing a glaring light on the construction of the archive itself, the medium through which this history was documented, is always already in any use of the medium thereafter. I hope that the hyper obvious and playfully constructed reenactments helps to highlight the origins, intentions, purposes, and canon of work that has become a part of the medium’s definition.

I also took this idea, seeing that much kodachrome of the past was used to document industry and city scape around parts of Chicago’s industrial complexes. I tried to choose images of the city that could have been also documented in the height of kodachrome’s industrial use, or that I feel are a modern representation of similar things. And for a while I went up to different factory workers on break and tried to get them to let me take direct portraits of them. They were all super bashful. The closest I got was the turned back of the stretching man watching the giant heart-shaped concrete slab swinging from machinery.

In the end, I also really love my friends and wanted to take some semi-glorifying, beautifully color-rich photos of them.

Whitney’s Chicago pictures can be found in her first post, here.


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