Lyndsy Welgos

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Lyndsy Welgos

Work from her oeuvre.

Rawson Projects: Firstly, I think you have always attempted to address the identity of photography as an art medium in your work. In your first exhibition with Rawson Projects, while still employing photographic processes, you stripped the works of specific references to time and place. Can you describe how this new body of work continues to examine these aspects of contemporary photography?

Lyndsy Welgos: I guess it doesn’t directly address those issues from the last show, but I feel any time you have a photograph that is completely appropriated, abstract, or conflated in some way, photographic mythologies get a little mixed up. Obviously there is a kind of institutionalization of photography that is addressed in these works. Time and notions of realism are some of the biggest constraints that hold the medium to a certain institutionalized standard.

RP: What is the significance of the found images in the work? Specifically, why did you choose images from the Metropolitan Museum of Art’s online catalogue?

LW: Maybe it’s the ubiquity of these types of works that I wanted to appropriate. I don’t think these images have anything to do with art history itself. Now, they are in the context of a photograph that is its own sculptural object – one that doesn’t need to depend on a particular past for its livelihood.” – excerpt from an interview with Rawson Projects

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