PHOTOGRAPHER MONOGRAPHS

PUBLISHER
Decode Books

BOOK FORMAT
Clth, 12.25 x 9.75 in. / 80 pgs / 36 color.

PUBLISHING STATUS
Pub Date
No longer our product

DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2011 p. 90   

PRODUCT DETAILS
ISBN 9780979337390 TRADE
List Price: $60.00 CDN $70.00

AVAILABILITY
Not available

BROWSE THE 2018 SPRING CATALOG

From the Beats to the Ramones, from Warhol's legendary film Chelsea Girls to MoMA catalogs for the Bruce Nauman and Adrian Piper retrospectives, and announcing D.A.P. distribution for Skira, Lars Müller, and Inventory Press

  

DECODE BOOKS

Kelli Connell: Double Life

Text by Susan Bright. Interview by Dawoud Bey.

"The <i>Brickhaus Café</i> image was one of the first pictures that I made and it was based on my own observation of watching people in a coffee shop. I watched different people interact--male and female, two males, two females. And it was especially interesting to me when they were two females. Sometimes one of the women acted a little more masculine than the other in her body language or how she presented herself. It seemed like there was this code that I needed to dissect in order to figure out how that system worked."<p>Kelli Connell, excerpted from her interview with Dawoud Bey in <a href="9780979337390.html">Double Life</a>. Featured image, <i>Brickhaus Café</i>, 2002, is also reproduced from the book.The portraits of Kelli Connell (born 1974) appear to document a relationship between two women. Their idiom looks familiar: a young couple caught up in everyday moments of pleasure and reflection--a picnic in the park, playing pool in a bar, taking a bubble bath together. The first flicker of unease comes as soon as the viewer registers the similarity of the two subjects, who seem to be twins--and incestuous twins at that. In fact, Connell has photographed the same model portraying both of the women and then digitally combined the two images so seamlessly that not a trace remains of their construction. Connell has been at the forefront of artists using digital technologies for the past decade, but her art is not about Photoshop, and the photographs in Double Life extend far beyond their duplicity into larger and more complex issues of identity and visual rhetoric. Connell has a canny eye for the documentary look, as she tells an interviewer: “I tried to infuse my images with the sorts of subtle portrait techniques that made for powerful documentary photos, hoping to figure out how to make my work look more like true documentation of two women in a scene, even though they have never been together at the same time.”

"The Brickhaus Café image was one of the first pictures that I made and it was based on my own observation of watching people in a coffee shop. I watched different people interact--male and female, two males, two females. And it was especially interesting to me when they were two females. Sometimes one of the women acted a little more masculine than the other in her body language or how she presented herself. It seemed like there was this code that I needed to dissect in order to figure out how that system worked."

Kelli Connell, excerpted from her interview with Dawoud Bey in Double Life. Featured image, Brickhaus Café, 2002, is also reproduced from the book.

PRAISE AND REVIEWS

American Photo

Jack Crager

Connell's intimate, low-key chronicle of the relationship between two women flutters, shakes and breaks apart as the viewer progressively realizes that the artist has used a single model to portray each side of the duo.

American Photo

Jack Crager

Connell's intimate, low-key chronicle of the relationship between two women flutters, shakes and breaks apart as the viewer progressively realizes that the artist has used a single model to portray each side of the duo.

Kelli Connell: Double Life

FROM THE BOOK
"Double Life is a complicated body of work and one that will become increasingly so as it develops (as relationships don't become easier the longer you are together as one would hope, but steadily more complex in many respects). The work often trips the viewers making us question our roles in relationships and how we shift and change ourselves to fit around those we love. It highlights how we mirror physically, intellectually, and emotionally those we are intimate with in order to connect; and it conflates the idea of model, artist, Self, and Other. It is a meditation on time but also very much of its time as photography goes through yet another round of theoretical hand-wringing in terms of repudiating its representational veracity. Finally, this work grapples with perhaps the most human subjects of all--that of live, an emotion that operates regardless of time, gender and space, and like all the work illustrated here co-exists as both hard fact and intricate fiction."

Susan Bright, excerpted from Different Women in Double Life.

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Nikki S. Lee: Parts

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