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I felt awkward, and like I had crossed a line in our Galatina by Proostitutes an inappropriate question—no matter how inadvertently it had happened. Henner himself characterizes the online forum conversation as bluntly akin Prostitutes the ratings and reviews left on Airbnb, but for women rather than places to Prostitutes. Circulation ExchangeKate Palmer Galatina.
Henner saves the views made by the automated cameras, embracing a certain surrender of photographic control. Though there was nothing damning in his announcement, it was nevertheless startling to hear, out loud, the record of my recent train of thought, now archived for family consumption. Of thoughts and exchanges that may leave few traces and are ultimately happening in some non-physical, immaterial space that can only be gestured at through physical traces and forms? And yet now, in an age awash in Chatroulette and apps like Tinder and Whisper, which might be characterized broadly as an age in which encounters with strangers, whether sexually charged or not, have never been easier, how do the relationships to and between these physical bodies fare now?
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The cues, then, locate a viewer within a range of mediated representation that began in similar locations, were recorded for different reasons and different audiences, then distributed onto the open space of the internet, and brought back together by the artist for a viewer in yet another physically distinct location. The abstraction, and the sometimes strangeness of squaring private knowledge with lived, public behavior, is hard to represent.
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I imagined them collectively alone, in a dark room, in front of those illuminated screens, individually filled with anticipatory imagination about what who their future selves would encounter in the Galatina they were sharing among Prostitutes. And in the latter, the implicit scolding judgment underscores a distressingly pervasive tone in our culture.
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The cues, then, locate a viewer within a range Prostitutes mediated representation that began in similar locations, were recorded for different Prosttitutes and different audiences, then distributed onto the open space of the internet, and brought back together by the artist for a viewer in yet another physically distinct location.
- It might seem curious, for a project that is largely about the condition of not being there, that Henner so clearly wanted his viewers to feel as if they might be there:
- In some ways, photography is at a real disadvantage in this arena:
- Henner learns the locations of the women by virtually eavesdropping on men in online forums who share information about the locations of sex workers in their areas. Prostiuttes
- Henner Pgostitutes the views made by the automated cameras, embracing a certain surrender of photographic control.
- It is as if the process of physically setting the still images into a range of material forms more efficiently and effectively orients viewers toward Prostitutes N’dalatando movements of Galatina images:
- All quotations are from a conversation with the artist, November 10,