Snatching stills from anonymous weblogs and surveillance feeds, projecting them onto large sheets of photo paper, and developing the results using standard color photography techniques, Sean Dack creates lush, mysterious glimpses of a twenty-first-century collective unconscious. At once intimate and impersonal, prosaic and fantastic, blogs explode the dialectics of the photograph, presenting fleeting moments not as fixed in the past but as constantly “refreshed” and endlessly negated. The particular sources of the footage that Dack mines here are never revealed and are, indeed, irrelevant to his project, which posits the appropriation and manipulation of technologies and cultural artifacts as a hallmark of the contemporary creative impulse.
The images that were on view here are surprisingly cinematic given their banal provenance. The subtitle of Man in Pool (Sexy Beast), 2004, an image of
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