Second Nature Podcast Episode 1: David Benjamin Sherry and Hayley Millar Baker скачать в хорошем качестве

Second Nature Podcast Episode 1: David Benjamin Sherry and Hayley Millar Baker

This podcast accompanies the exhibition Second Nature: Photography in the Age of the Anthropocene, as it makes its way across North America, and will include discussions with artists, curators, scholars, scientists, and others who engage with aspects of the Anthropocene in their work. In this episode, artists from the exhibition, David Benjamin Sherry and Hayley Millar Baker are joined by curators Jessica May and Marshall Price to discuss their work within the context of the Anthropocene and how it is situated within the exhibition. duke.is/second-nature --- ARTIST BIOS David Benjamin Sherry (Born In Stony Brook, New York, 1981) creates vast, large-format landscapes of the West that recall those by nineteenth- and twentieth-century predecessors such as Carleton Watkins and Ansel Adams. Sherry is a self-described “nostalgic futurist,” who simultaneously references the past and looks toward the future. He sees his presence as a queer man making images in rugged and rural terrain as a performative process. By embracing this aspect of his identity, he is able to present an alternate to the heteronormative precedence set for our understanding of ecologies and environmentalism—thus using his queer identity as a strategy for conservation. Working in large-scale analog film processes and more recently in painting, Sherry’s sweeping monochromatic views are both seductive and cautionary, reinvigorating the American western landscape tradition by underscoring the fragility and vulnerability of these lands. He has written, “These photographs represent resistance, self-determination, and optimism—core American values—imperiled as the land itself.” • • • Hayley Millar Baker (Gunditjmara And Djabwurrung, Born In Melbourne, Australia, 1990) was a painter for a decade before transitioning to photography, film, and collage. She uses these media to interrogate and abstract stories founded on southeastern Aboriginal existence—drawing from her Gunditjmara bloodline and examining the roles our identities play in translating and conveying our experiences. The meticulous layering of her imagery creates histories and landscapes in which disparate times, cultures, and transformations coexist. Millar Baker’s stratified, elusory imagery emphasizes temporal fluidity and connection to identity. Her practice examines how memory and identity are neither linear nor concrete and highlights Indigenous experiences of place, time, storytelling, and the intergenerational passing down of that knowledge.