A little thing to ponder on a Thursday: I keep flipping between Christine's Bridal and Scenes from the Underground. I think one can read the mannequins as a 'photo' within the photo (walls are the frame) and similar to the images in 'Underground'. Yet, the photos are so much more alive and present - even the cartoon is. Is it that they are photos? The color is more vivid? We KNOW the mannequins are static and the photos are of real people? Yet, both sets have a very 'Alverez Bravo' abstraction to them.
Lyle, on a purely pedestrian/pragmatic basis of analysis, the mannequins are heavily screened by the dirt and reflections on the glass of the shop window. The glowing backlit signs and posters in the underground literally are more vivid in real life.
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A little thing to ponder on a Thursday: I keep flipping between Christine's Bridal and Scenes from the Underground. I think one can read the mannequins as a 'photo' within the photo (walls are the frame) and similar to the images in 'Underground'. Yet, the photos are so much more alive and present - even the cartoon is. Is it that they are photos? The color is more vivid? We KNOW the mannequins are static and the photos are of real people? Yet, both sets have a very 'Alverez Bravo' abstraction to them.
Lyle, on a purely pedestrian/pragmatic basis of analysis, the mannequins are heavily screened by the dirt and reflections on the glass of the shop window. The glowing backlit signs and posters in the underground literally are more vivid in real life.
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