Despite the recognition of William Eggleston, Stephen Shore, Joel Sternfeld and Jeff Wall–photographers work work either predominantly or exclusively in color–there is nothing approaching consensus on the purpose and/or role color plays in image making.
Admittedly, I am only familiar with the proceedings in a manner similar to the way the geek table in a high school cafeteria is privy to the latest scuttlebutt at the popular kids table. Best as I can tell, it centers on whether or not color is intrinsic to the raison d’etre of the image; or, is it instead, merely a decorative addition.
As someone who prefers B&W to color and whose use of color is usually governed by whim rather than reason, I don’t feel effectively equipped to interrogate questions over the use of color in a work.
However, I do suspect this work might well be considered in such conversation.
Moving away from considerations of color–difficult to do as the work hinges on color–the conceptual underpinning of this work is fucking stellar. With so much of the bigotry LGBTQQAI folk facing being unduly fixated on what happens in beds, behind closed doors; Carland counters this fetishization by remind us that just like us lesbian couples also share beds for the purpose of sleeping–a thoroughly normal, human activity.
There’s are touches of personal identity, yet everything still remains anonymous. The work stands on its own, presenting its perspective in a straight-forward, face value manner that leaves only one question: why these beds? A question answered in turn by the title.
Astute, exciting work.
This image was reblogged from knitphilia. I don’t want to embarass her or gush in too sploosh-y a fashion but I adore her blog. A-goddamn-fucking-DORE. Her curation is over-the-moon superb. Please follow her if you aren’t already and for the love of all that is good: check out her pretty masculinity and handsome femininity tags.