Visual Arts Program
 


Saturday, September 16, 2006 — Saturday, October 28, 2006

Michelle Hines

Within the Contest of No Contest

Presented at:
Hallwalls

Michelle Hines - <em>Within the Contest of No Contest</em>
Michelle Hines - <em>Within the Contest of No Contest</em>
Michelle Hines - <em>Within the Contest of No Contest</em>
Michelle Hines - <em>Within the Contest of No Contest</em>

For the past decade, Michelle Hines has been exploring the variable textures of private obsessions made public, anonymity vs. the rabid desire for fame, recognition and acceptance, and the absurd manifestations of these desires. Within the Contest of No Contest will include photo-based works and videos from the past ten years, culminating in her most recent Through Binoculars series of images.

Previous works by Hines will represent three distinct series produced over the past ten years: World Record Attempts, the Supernatural series, and the Celebrity/Anonymity series. Among the world record attempts on display will be the Largest Ear of Corn and the infamous Peristaltic Action, the latter included in John Waters' Art: A Sex Book and enjoying an extended life on web blogs. Where the World Record Attempts underscore the sometimes-absurd yearning for fame, Hines' Supernatural series explores a different tangent of notoriety, similarly rooted in a singular sense of belief. Hines' crop circle imagery and Yeti video are astute recreations of those unknowable (and quite possibly fake) icons that fuel our internal desire to connect ourselves with the exotic and elusive. This same sentiment is evident in the video Celebrity Impressions, in which one man moves through innumerable celebrity impressions, as though this mildly useful skill provided a mantra to deeper meaning.

Hines' more recent Through Binoculars series features surreptitious images of pedestrians, photographed from a great height and through both a binocular and telephoto lens. The formal distance of this method creates an otherworldly distance appropriate to the subject. Formally, pavement, color, and light play to create unique pictorial depictions that occasionally verge on abstraction. The abject loneliness and singularity of many of the Through Binoculars images serve to underscore a sentiment that runs beneath much of the work that preceded it. It is as though we are all perpetually wafting between anonymity and the alluring promise contained in even the most ridiculous versions of fame.

To view publication, please visit our archives.


Some publications related to this event:
MICHELLE HINES: WITHIN THE CONTEST OF NO CONTEST - 2006
September, 2006 - 2006
October, 2006 - 2006

 
 
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David Schirm
All The Glad Variety


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