The easiest way to label oneself as an artist, some would argue, would be to get a digital camera, shift the mode to black and white and proceed to take numerous "artsy" photos of Coke bottles, spoons and other random objects. But while some may scoff at such attempts, photographer Moyra Davey has used just this approach - with great success - to reveal the profundity of everyday objects.
Davey's solo photography exhibit, "Long Life Cool White," is currently showing at Harvard's Fogg Art Museum. A professor at Bard College, Davey has exhibited at various locations, including the Institute for Contemporary Art, and is also an editor and writer. Her show is a close examination of everyday objects and settings through the lens of her camera.
Immediately greeting the visitor is a large collection of 100 color prints titled "Copperheads." As the title suggests, the piece consists of photos of pennies: 100 different shots all having been taken at the same angle with the same lighting and focus. At first, the bas-reliefs of Abraham Lincoln are slightly startling and overwhelming. Upon closer inspection, however, one notices the varying texture and colors of each penny. Sometimes the pennies seem relatively new, with the copper shiny and reflective. Other older pennies visibly show their age. They are fading and changing in color to a bright turquoise. And still other shots show the profiles of Abe totally disfigured, with deep scratches marring his serene face.
Viewing "Copperheads" as a whole, the 100 penny close-ups look alike, but after viewing each print separately, vast differences arise. Despite their similarities, there remains a great diversity. The same can be said metaphorically of the American people: Only the label "American" binds our various cultures together.
"Copperheads" strongly demonstrates Davey's close attention to detail, but much of her work in the show reflects a propensity for photographing static objects. In a three-part work, "Calendar of flowers, gin bottles, steak bones," one part particularly catches the viewers' attention: "Bloom," a seemingly random grouping of nineteen photographs of various dimensions. They are arranged in no apparent order, similar to an artsy montage in a college dorm room.
All photos are devoid of any human form, aside from one finger holding up a page of a book. Davey is slightly obsessed with a quiet observation of how light through windows reacts with indoor objects. In addition, all of the photos are eerily silent.
The effect of the quiet stillness is reminiscent of old Polaroid photos. The collection of everyday scenery, such as a cluttered desk and an empty bottle of gin, is quirky and random. The objects remind the viewer of digging through grandma's knick-knacks and have a vintage, alternative feel. Pondering "Bloom" is a relaxing experience, because the viewer can focus on several different things without feeling overwhelmed.
If the "Calendar" series was any indication, Davey appears to have an affinity for liquor bottles. This tendency is especially strong in "Bottles No.1," a group of nine small photos. Each photo depicts (you guessed it) empty liquor bottles.
"Bottles" also shows Davey's photographic dexterity in the area of black and white. Crown Royal, Knob Creek and Jameson all are in sharp focus, while the backgrounds are blurry. All are empty, sitting on a table or countertop. The viewer must wonder what the significance of an alcohol bottle is. Perhaps it suggests the ending of a good time; the serenity in each picture seems to echo the day after an eventful night. Or perhaps "Bottles" is simply a study of the interaction between light and glass. Whatever the deeper meaning is, "Bottles," like "Calendar," is pleasing to look at and extremely calming.
"Long Life Cool White" is a great exhibition to visit if one is feeling overwhelmed and stressed. The sharp details, extreme tranquility and repetition of subject matter create an almost Zen-like atmosphere.
