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• W4379792214 abstract "Curatorial Statement Constance Cortez (bio) A young woman stands in the center of a domestic interior, holding an electrical cord in her left hand. Her activity, apparently interrupted; her expression, unfathomable. Is she looking at something out of our field of vision? Or is she looking inward, consumed by a sudden thought or remembrance? Or is she merely listening? In his photography, Shreepad Joglekar focuses on ambiguous relationships as they manifest themselves on various levels. The classical centrality of the subject's placement in the picture field is repudiated by her head, which the artist has cropped, and by her actions and the context in which she is placed. In this work, the photographic subject is involved in a seemingly meaningless activity that has an unclear relationship to her surroundings. While she is part of this environment, she is either oblivious to it or has, with some deliberation, psychically removed herself from it. The room in which she is situated gives no clue to her identity, and the cord she holds is as disconnected from its machine as she is to her context. The clothing she wears, her little black dress, further complicates our understanding, as it seemingly belies the very domesticity invoked by the well worn overstuffed chair behind her. The sense of relational ambiguity Joglekar infuses into the work also operates on the level of the relationship between subject, viewer, and artist. Provoked by Barthes's notion of the death of the author, Joglekar opens an artistic dialogue between recipient, producer, and object. He achieves this, in part, by the photographic processes employed during the development of the film. The use of subdued grays imparts the impression of age. The viewer's understanding of time past is further enhanced by the treatment of the photographic surface. Phantom spots caused by soap bubbles and marred surfaces dance diagonally [End Page 36] across the photograph and add a dynamism to the composition. In these spots and scratches, and even in the black edge surrounding the work, we find the artist's presence. We also find the voice of the subject. The surface treatment and the young woman at the center of the photograph communicate to us the relationship that we have with our surroundings and that which lies beyond our field of vision. Joglekar is acutely aware of the subjectivity of the photographer. In his sometimes haunting images, he undermines his own subjectivity to bring about a more circular relationship between fields of production, consumption, and meaning. By doing so, the artist allows us to pause and investigate our own awareness of the ambiguous waters we navigate. He realizes that the process of revelation is often best revealed in such visually interrupted moments. Constance Cortez Constance Cortez received her BA and MA in art history from the University of Texas at Austin and completed her PhD in art history at UCLA. She is an assistant professor of art history in the School of Art at Texas Tech University where she teaches and publishes in two fields: contemporary Chicano/a art and colonial art of Mexico. Two recent articles include the forthcoming Now You See Her, Now You Don't: Memory and the Politics of Identity Construction in Representations of Malinche, in Invasion and Transformation: Interdisciplinary Perspectives on Images of the Conquest of Mexico, ed. Margaret Jackson Ferrer and Rebecca Brienen (Boulder: University of Colorado Press, 2006) and The New Aztlán: Nepantla (and Other Sites of Transmogrification), in The Road to Aztlán, ed. Virginia Fields (Los Angeles: Los Angeles County Museum of Art, 2001). Copyright © 2006 Frontiers Editorial Collective" @default.
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• W4379792214 title "Curatorial Statement" @default.
• W4379792214 doi "https://doi.org/10.1353/fro.2006.a209982" @default.
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