Doing his own thing but also dabbling in the deep well of appropriation, Mark Morrisroe (1959-1989) produced black-and-white photographs, hand-painted photograms and what he (and Man Ray) called ''rayographs.'' (Both photograms and rayographs are prints made by direct contact of the photographic paper with the object.) His photographs have a casual, underground approach, ranging from a wry glimpse of an American flag, solarized by overexposure, to a blurry photograph of a woman's face eerily defined by teeth, to Mapplethorpe-like shots of homoerotic situations. Sometimes the distinction between real and media life is rubbed out, as in a fanzine photograph of Tina Turner taken from an album cover. The New York Times, 22/10/1999
Doing his own thing but also dabbling in the deep well of appropriation, Mark Morrisroe (1959-1989) produced black-and-white photographs, hand-painted photograms and what he (and Man Ray) called ''rayographs.'' (Both photograms and rayographs are prints made by direct contact of the photographic paper with the object.) His photographs have a casual, underground approach, ranging from a wry glimpse of an American flag, solarized by overexposure, to a blurry photograph of a woman's face eerily defined by teeth, to Mapplethorpe-like shots of homoerotic situations. Sometimes the distinction between real and media life is rubbed out, as in a fanzine photograph of Tina Turner taken from an album cover.
ΑπάντησηΔιαγραφήThe New York Times, 22/10/1999