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Occupation

Occupation Downloaded from http://afterimage.ucpress.edu/ on December 5 2019 by Meredith Davenport Occupation is a work-in-progress that incorporates archival I am interested in how news images and narratives enter into photographs and still frames from archival films of the plaza being our internal emotional lives. I investigate notions of truth in the built, along with film stills that I made of the demolition of the document, and how news photographs and media stories carry plaza. I was struck by the similarity of the archival images of the other messages beyond their intended informational content. I like removal of bedrock to construct the foundation, and the images of to exploit uncanny gaps in logic by using double narratives that the removal of the current buildings. I have started to think about weave together external social and political themes with internal the idea of perspective and how it relates to time. The entire process psychological ones. Much of my work originates from my experience of the destruction of Midtown Plaza has been documented by an working as a news and documentary photographer, where my unmanned camera on top of a building across the street that streams internal narratives were often mixed with the political and social the information live to a website (www.cityofrochester.gov/midtown). stories I worked on. Looking at those images and the satellite maps of the site, I realized In the past several years I have been fascinated to watch the that the contemporary sense of perspective and virtual movement closing and demolition of Midtown Plaza in Rochester, New York, in space is remarkably different from the historical perspective the first urban indoor mall (built in 1962). There is an uncanny visual provided by the still camera when the building was constructed. In the resemblance to the images of the destruction of the Twin Towers in installation, I have explored the idea of perspective. Manhattan. These references of destruction and despair lie in the I also created a set of photographs that re-document various literal heart of the city of Rochester. The scene of the demolition views of the site that will be used in an augmented reality project, which began three years ago, was a low-level echo of trauma and violence similar to those we see embodied in some of application that plays with the “Kodak Picture Spot.” Pedestrians the media images of 9/11 and from countries in conflict or in the will be prompted to download the app at designated picture spots aftermath of natural disasters. Beyond the metaphors of destruction downtown. When they use the app, they will be prompted to as a force of renewal that are quite common in the news media, I make pictures with their smartphones. Each picture they make will have been thinking a lot about the idea of nostalgia—a memory of actually be a copy of the older version of that view. There is a set of something idealized that never really existed in that form. I am also figures that I have removed from the original images and enlarged exploring the community’s memories of this site and watching how to life size. Much like Paolo Cirio’s “Street Ghosts,” these historical those ideas change as the site moves from a destructive metaphor ghost figures will be reintroduced as large posters onto the buildings to a creative one of rebuilding. in the same positions they occupied in the original photographs. Por tfolio | Occupation | Meredith Davenpor t | www.meredithdavenpor t.com | (continued on inside back cover) Por tfolio | Occupation | Meredith Davenpor t | www.meredithdavenpor t.com | (continued from inside front cover) http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Afterimage: The Journal of Media Arts and Cultural Criticism University of California Press

Occupation

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Publisher
University of California Press
Copyright
© 2015 Afterimage/Visual Studies Workshop, unless otherwise noted. Reprints require written permission and acknowledgement of previous publication in Afterimage.
eISSN
2578-8531
DOI
10.1525/aft.2015.43.1-2.50
Publisher site
See Article on Publisher Site

Abstract

Downloaded from http://afterimage.ucpress.edu/ on December 5 2019 by Meredith Davenport Occupation is a work-in-progress that incorporates archival I am interested in how news images and narratives enter into photographs and still frames from archival films of the plaza being our internal emotional lives. I investigate notions of truth in the built, along with film stills that I made of the demolition of the document, and how news photographs and media stories carry plaza. I was struck by the similarity of the archival images of the other messages beyond their intended informational content. I like removal of bedrock to construct the foundation, and the images of to exploit uncanny gaps in logic by using double narratives that the removal of the current buildings. I have started to think about weave together external social and political themes with internal the idea of perspective and how it relates to time. The entire process psychological ones. Much of my work originates from my experience of the destruction of Midtown Plaza has been documented by an working as a news and documentary photographer, where my unmanned camera on top of a building across the street that streams internal narratives were often mixed with the political and social the information live to a website (www.cityofrochester.gov/midtown). stories I worked on. Looking at those images and the satellite maps of the site, I realized In the past several years I have been fascinated to watch the that the contemporary sense of perspective and virtual movement closing and demolition of Midtown Plaza in Rochester, New York, in space is remarkably different from the historical perspective the first urban indoor mall (built in 1962). There is an uncanny visual provided by the still camera when the building was constructed. In the resemblance to the images of the destruction of the Twin Towers in installation, I have explored the idea of perspective. Manhattan. These references of destruction and despair lie in the I also created a set of photographs that re-document various literal heart of the city of Rochester. The scene of the demolition views of the site that will be used in an augmented reality project, which began three years ago, was a low-level echo of trauma and violence similar to those we see embodied in some of application that plays with the “Kodak Picture Spot.” Pedestrians the media images of 9/11 and from countries in conflict or in the will be prompted to download the app at designated picture spots aftermath of natural disasters. Beyond the metaphors of destruction downtown. When they use the app, they will be prompted to as a force of renewal that are quite common in the news media, I make pictures with their smartphones. Each picture they make will have been thinking a lot about the idea of nostalgia—a memory of actually be a copy of the older version of that view. There is a set of something idealized that never really existed in that form. I am also figures that I have removed from the original images and enlarged exploring the community’s memories of this site and watching how to life size. Much like Paolo Cirio’s “Street Ghosts,” these historical those ideas change as the site moves from a destructive metaphor ghost figures will be reintroduced as large posters onto the buildings to a creative one of rebuilding. in the same positions they occupied in the original photographs. Por tfolio | Occupation | Meredith Davenpor t | www.meredithdavenpor t.com | (continued on inside back cover) Por tfolio | Occupation | Meredith Davenpor t | www.meredithdavenpor t.com | (continued from inside front cover)

Journal

Afterimage: The Journal of Media Arts and Cultural Criticism – University of California Press

Published: Jul 1, 2015

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