Phil Collins' excellent 'Free Fotolab', 2009 in which the artist asked people to send him their undeveloped rolls of film which he would then process and send a set of prints back to the participants on condition that they surrender all rights to the images. The result is a 9 minute slide sequence of selected shots providing candid portraits and representations; out-takes of the unexpected and the personal. The photos are derived from broadly Eastern European locations and provide a fascinating, touching and unfamiliar yet strangely familiar collective impression of people caught on camera.
Hannah Wilke, 'The Intra-Venus Tapes', 1990-93. Hard going and compelling document of the last years of the artists life.
Gracielle Carnevale, 'Encierro y Escape' (Entrapment and Escape), 1968. Funny.
Shizuko Yokomizo, 'Stranger 6', 1999. The artist left notes to occupants of ground floor dwellings and apartments asking them if they wished to pose in their living rooms for ten minutes at an appointed hour, at some point during which time they would be photographed. This one of the resulting, simultaneously intimate and distant portraits.
Stephen Willats, 'Cybernetic Still Life' 2010, 'The Multi-Channel Messenger' 2008 and 'The World As It Is And The World As It Should Be' 2006. Diagram as artwork and social mapping device.
What is interesting and apparent when viewing works in the environment of PS1, is the uniform consistency and universal aesthetic of the scene of engagement with art, where the presentation of the work does not so much reveal the circumstances of the works creation but rather heightens consciousness of the circumstances of its display.
Art in the streets all photographed within 100 yards of PS1.
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