![]() This instinctual subjectivity is a far cry from maintaining a detached, ironic view of life. Maybe because one’s image of one’s own body is disturbed by it.”īased on his objective transformation of such ordinary items as a target and the American flag, his exploration of “reactions one cannot quite account for” conveys his interest in a subjectivity rooted in a bodily response. The artist is interested in our visceral reaction to something that we cannot quite explain: “it’s upsetting or provokes reactions that one can’t quite account for. Some of the monotypes from this group were dated 2015, sixty years after he completed “Target with Four Faces.” This image becomes the source of a group of monotypes, along with other works on paper and at least one painting. The photograph shows an inconsolable young soldier, broken by circumstances. It was taken by Larry Burrows and first appeared in the April 16, 1965, issue of LIFE. ![]() The photograph is of James Farley, who was 21 years old at the time, and the crew chief/door gunner on a helicopter. ![]() ![]() A “broken representation of the human physique” would not be something he imagined or made up, but rather something he saw or assembled out of things that already existed - a photograph taken during the Vietnam War of an American soldier slumped over, burying his face in the crook of his arm, or four plaster casts of a woman’s face, with her eyes occluded, joined to a target. ![]()
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