Queen Charlotte: Portrait Photograph of Woman in Green Holding Bouquet and Birds

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Nicholas Kahn & Richard Selesnick
Queen Charlotte: Portrait Photograph of Woman in Green Holding Bouquet and Birds
2013

About the Item

Staged portrait photograph of a young woman holding green flowers Reminiscent of a Victorian portrait Queen Charlotte, 2012-13 archival pigment print, edition of 5, made to order 10 x 10 inches, ed of 5, $2400 24 x 24 inches, ed of 5, $3500 32 x 32 inches, ed of 5, $5000 Composed in a cool palette of jade and emerald green, and beige, this photograph by artist duo Kahn & Selesnick combines a classically beautiful portrait of a young woman with elements of fantasy. The image from the artists' "Truppe Fledermaus" series, depicts a woman donned in period dress, holding a bouquet of flowers, while small birds arrange her hair and flowers. The image itself measures 10 x 10 inches and has an arched top. About the series "Truppe Fledermaus": Kahn & Selesnick's series documents the adventures of the Truppe Fledermaus, a cabaret troupe of anxious mummers and would-be mystics who catalogue their absurdist attempts to augur a future that seems increasingly in peril due to environmental pressures and global turmoil. About the artists: Richard Selesnick and Nicholas Kahn have been collaborating as Kahn/Selesnick since 1988 on a series of complex narrative photo-novellas and sculptural installations. They were both born in 1964, in New York City and London respectively and both are British citizens. They met at Washington University in St Louis where they collaborated informally from 1982-86 as photography majors. After graduation and a couple of years of showing their art separately they migrated to Cape Cod, Massachusetts to work on an evolving series of projects, some painting based, some photo based, all involving fictional attributions, narratives and sculpture. Between 1988 and 1995 they worked on installations combining painted portraits on plaster panels, bread, honey and wax sculptures displayed in wooden ritual architecture. A residency at The Fine Arts Work Center in Provincetown Massachusetts helped them create an elaborate full-scale oaken chapel; Der Ruteloft des Betubten Bienenkaisers (The Rood-Loft of the Drunken Beekeeper) with 120 painted panels, all of heads in profile sprouting psychoactive plants from their mouths. Tiring of working on painting locked up in a studio, they searched for a technique to better bring the narratives to life and returned to staged photography. Experimenting on Selworthy Beacon in Somerset, Englandthey found that shooting a 360 degree panorama could more faithfully create a truer, more cinematic sense of the place, while their manipulation of costume, props and period color would help them alter the sense of time. In 1996 their first big show of photographic panoramas, The Flight Series, was set in the Wessex area of Britain in the mid 1930s. The Royal Excavation Corps story was revealed through museological display cases filled with artifacts, historical documentation and actual photographs from a variety of real expeditions, which merged with the staged and costumed scenarios that were depicted on the heavily folded and inscribed sepia toned panoramas framed on the walls. Floating above the whole show were the two sets of ornithopter wings used by the R.E.C. to fly (with the notable help of hallucinogenic honey to assist in their belief that the flimsy wings might hold them aloft) lending the whole show a verisimilitude more suited for a traveling show of documentary history than the absurdist narratives that were on display. In 1997 The Pavilion of the Greenman was first shown at the DecordovaMuseum just outside of Boston. This series of shallow focus profile portraits of the artists as Greenmen was shot with an 8 x 10 field camera. These were then displayed as an internally illuminated chapel roofed with leaves and with walled with the 27 glowing silver photographs printed on vellum. When blown up into four foot square silver prints the artists faces masked by the flowers and leaves glued on with honey had a fearsome pagan drama to them; accompanied by fabricated historical documentation of songs and fertility rituals of Somersetshire, they further melted the boundary between man and plant. In 1998-99 The Circular River, the R.E.C. Siberian Expedition of 1945-46 continued the story of the R.E.C to its post-war conclusion. A seven-foot wide leather bound book held the 60 long sepia panoramas and 100 pages of text. Together they told the parallel stories of Peter Hesselbach, a lost German glider pilot gone native and the R.E.C.’s search for him among the Buryat Shamans of Northeastern Siberia. Objects purportedly loaned by the Novosibirsk Museum of Ethnography accompanied the show. The photographs were laser-color prints on cotton in an edition of five, but had the appearance of vintage folded panoramas, they were painstakingly collaged together by hand, stained and inscribed with the notes from the expedition. In 2000 Kahn and Selesnick were Artists in Residence, at the Addison Gallery of American Art, Andover, Massachusetts, where the larger crowd scenes for their post-apocalyptic whiskey-dark epic Scotlandfuturebog were shot. These were digitally combined 4x5 film shot on location on the Isle of Skye, the Beara Peninsula in Ireland along with the bogs of Cape Cod. The Computer was at last allowed into the studio to aid the artists bringing their future distopia to life. The panoramas were shown first as giclee prints on translucent Gampi rice paper up to 12 feet long and 2 feet high; these had an ephemeral silky materiality that suited their future-historical impossibility. Designed to resemble the artists hand bound version of the project, Aperture Press printed a limited edition boxed book with vellum gatefolds for Scotlandfuturebog, the design of which won the New York Book Show, best photography book of 2002. In early 2001, a 2-month winter residency at Djerrasi Artist Program inWoodside, California facilitated the creation of a complex miniature city of salt-encrusted ceramic minarets and stupas that was set up on location inDeath Valley for Kahn/Selesnicks next project City of Salt. Unfolding in the vast deserts and lush oasis of an unnamed orientalist landscape and printed in the out of register tones of an archaic early color process, the stories of greed, oil and spiritual enlightenment echo the uneasy relationships of West and East in this time of perpetual war. The short parables that accompany the photos are a collaboration between Kahn/Selesnick and writers Sarah Falkner and Erez Lieberman. Aperture published City of Salt as a boxed limited edition monograph in 2005. The prints vary in size from 36” wide to 100” wide and are printed on cream-colored Arches cotton paper as archival digital prints. An feature article on the artist’s collaboration at Phillips Andover in the New York Times lead to a 2002 semester long residency at Toni Morrison’s Atelier Program at Princeton University, allowing the artists to collaborate with the students on the genesis of the next Kahn/Selesnick project The Apollo Prophecies. Taking over 4 years to complete, the project slowly unfurls as an epic panorama telling the plight of a lost Edwardian English expedition to the Moon. One follows the lunar module through the panorama discovering NASA’s hidden story of how a settlement was found awaiting for them on the moon, how they were greeted as Gods, prophesied in great stone alignments, and heralded by a prophetic sacred text, before returning to earth with canisters of Moon Paste as evidence. The entire story is told in one immensely long seamless panorama, 10” high by 50 feet long in one version. It shot for the first time entirely digitally and printed in quad-tone black carbon inks on Hahnemuhle paper. An accordion book edition of theApollo Prophecies will be forthcoming from Aperture in October 2006 along with a special limited edition boxed set including a DVD of the movie Kahn/Selesnick shot on their version of the moon. The project also features a booklet with reproductions of all the drawings and portraits of the astronauts and lunar artifacts as well as the prophetic text (another collaboration with Erez Lieberman). Nicholas Kahn and Richard Selesnick do not employ armies of underpaid assistants, they instead improvise or build everything themselves. They also rely on an army of kind friends and relatives for their photographic models as well as for very frequent gifts of peculiar objects that often infiltrate their projects. They are currently attempting to find a lost iceberg city last seen off of Lubeck in 1923 and shooting an Expedition to Mars for NASA.

Creator:
Nicholas Kahn & Richard Selesnick
Creation Year:
2013
Dimensions:
Height: 10 in (25.4 cm)Width: 10 in (25.4 cm)
Medium:
Archival Pigment
Movement & Style:
Contemporary
Period:
2010-
Condition:
Gallery Location:
Hudson, NY
Reference Number:
1stDibs: LU2273652261

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