Janine Marchessault

  • Lynne Cohen

    Lynne Cohen documents spaces in which the everyday is not so much lived as staged: empty laboratories, showrooms, medical classrooms, corporate offices and corridors, and leisure spaces (spas, party halls). She began to photograph these deserted “found environments” in the early ’70s, archiving them as artifacts from the urban environment Wyndham Lewis once called the “fiery desert of modern life.” Unlike many women taking photographs in the ’70s and ’80s Cohen has resisted the instrumentality of a feminist politics that would show us a way out. Instead she has documented processes of identity

  • Christine Davis

    For more than a decade, Christine Davis’s installations have combined artifacts of the body (contact lenses, a metal dress patterned on genetic encoding sequences), photographs of skies (clouds, solar eclipses), and images of books (English dictionaries, Copernicus’s Cosmology) to consider constructions of the self. Taking shape at the intersection of science, pain, and beauty, her work betrays the influence of Deleuze (on time), Bataille (on Sade), and Kristeva (on love); it’s no surprise to learn that Davis’s early training was in Paris. This might explain why her installations have always