We chose not to include Flat Daddies and Flat Stanleys per se in the catalog, opting instead for installation shots from the version we showed at SF Camerawork in 2007 and screen-shots of the websites where we found these images in the first place. Why?
Flat Land establishes a context for viewing these photographs (and in this show, Guarded and Lost contribute their energies as well), a context structured carefully by the two projections, the two narrations, running simultaneously on either side of a single, suspended, flat projection surface. And so we feel an obligation to not show the images alone or cite them without lots of contextual supports.
So, for example, when asked for an image from Flat Land we offer this:
Which then appears on the SF Camerawork website like this:
And on the Failure Magazine website like this:
And which was derived from this:
Which we found here.
We use this one image—sans Bush and friend—to stand in for the circulation and handling of the proxies: the daddies and the Stanleys. Our proxy for theirs, the blank screen of projection, more important than the specific actors.
