new-york

Sarah Charlesworth

Tony Shafrazi Gallery

When Andy Warhol in the ’60s used newspaper images, documentations of destruction and disaster, one was wholly conscious of their media origins; often they were either pictures of familiar historic moments, or they appeared along with that bold-faced, instantaneous alarm-signal, the newspaper headline. Warhol may have made the peculiar genre of newspaper disaster reporting “art,” but in his work its identity as media remained intact. “Media” remained the source of interest and material for contemplation as phenomena.

When Sarah Charlesworth in her latest series, “Stills,” isolates disaster images from newspapers and enlarges them to over six feet in height, she chooses more commonplace tragic events (people plunging from high buildings, possibly to their deaths), which are completely unidentified, voided of obvious historical importance, or journalistic detail.

Charlesworth’s earlier work

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