Critics’ Picks

Corinne Vionnet, London, 2005-06, archival pigment print, 35 1/2 x 47 1/3".

Corinne Vionnet, London, 2005-06, archival pigment print, 35 1/2 x 47 1/3".

New York

Corinne Vionnet

Danziger Gallery
952 5th Avenue 2nd Floor
January 3–February 14, 2015

For her latest output, Corinne Vionnet has pulled thousands of photographs of international landmarks—the Parthenon, the New York skyline, the Hollywood sign, Mount Fuji, an ocean-scape in Capri—from across the Internet, a substantial number taken by tourists. She has layered these pictures to create a single image of each given landmark, creating works that have a painterly, impressionistic feel and interrogate the relationship between tourism and mass media. Vionnet combines multiple registers of media, emphasizing the expanded life an iconic picture has today as it triggers millions of like images modeled and cropped after it. As a result, her work subtly updates a tenet set by the Pictures generation—that within every picture is another picture—by three-some decades.

In London, 2006, Big Ben becomes a murky monument caught in a wild dance in a landscape populated with impossible relationships: Figures that appear to be walking together are in fact from different source images; tourist photographs, when laminated atop one another, bring strangers together into a shadowy dialogue across time and space. One is reminded of Cindy Sherman’s rear-screen projections, in which Sherman is at once a part of the image and necessarily separated from it; a corporeal oscillation that peels back the seamless unity of the photographic image. More than the postmodern truism that pictures are always citations, Vionnet’s work shows that the process of citation and layering can actually create human relationships, even though they are just simulations.