A stunning array of black-and-white photographs illuminate the walls of the Fralin Museum of Art as the exhibit titled “Holly Wright: Vanity” takes up residence in her temporary home in Charlottesville. First opened on Fralin Aug. 31, a series of photographs by Holly Wright – which brings together selections from three groups of work, “Final Portraits,” “Vanity” and “Poetry” – contrasts the difficulties of communication and the instability of life through the short- up and the fixed length of the body of a person.
Wright, who taught photography at the university from 1984 to 2000, was one of the initiators of the proposal to establish a photography group at the museum. Although his works have been exhibited in various institutions such as the Metropolitan Museum of Art and the Yale University Art Gallery, this is his first exhibition at Fralin. Fittingly, the exhibition was made possible thanks to the funding and support of one of Wright’s former students, Tom Osborne.
The exhibition’s preoccupation with expression, especially self-expression, through the lens of photography can best be understood through the series titled “Vanity,” a series of vivid photographs of Wright’s hands. Dr. Kristen Nassif, Fralin’s curator of collections, said this goal is increasing the analysis of the human body, with images that were previously difficult to interpret.
“He called the series ‘Vanity’ because he felt it was pointless to try the camera on himself and take pictures of himself,” Nassif said. “But I think he found a creative and effective way to capture invisible images of his body.”
Through thematic analysis of words, Wright examines the difficulties of understanding identity by choosing to focus his eyes on things that people ignore. This is especially evident in the second picture called “Poetry,” in which Wright holds the mouth of her husband – Charles Wright, a retired English professor at the university who also worked as the 20th Poet Laureate of the United States – in reciting poetry.
The images in this series are arranged in a grid, creating a visual narrative that represents the poem’s composition. Each image connects to the previous one, creating a continuous flow of words. When viewed as a whole, the collage invites viewers to focus on the structure of the mouth, not the words being spoken. Through this goal, Wright re-evaluates the importance of how people choose to express meaning beyond language – through different forms of pronunciation.
Given the importance of the “poetry” component that conveys his message, it’s no surprise that Wright played a role in designing the show. Nassif said he enjoyed the opportunity to collaborate with Wright during this time.
“When Holly came on the scene, she helped us get it right, which I think is great because it’s about the flexibility of the sentences and the flexibility of the sentences,” Nassif said.
In the third group, titled “Final Portraits,” portraits of couples and people lying on their backs fill Fralin’s octagonal gallery. What sets this series apart is the question that drives fans – “if you could take one picture before passing out, what would it look like?”
According to an episode of Fralin’s Writer’s Eye Spotlight Talk, Wright’s vision for the series came from the experience of rich people sending their photos to be included in their last post. By placing the models in similar stages of death, viewers are encouraged to ask themselves the same question and consider their relationship with death and legacy.
Fralin currently displays art on the walls of the building, but Ariel Ankrah, assistant curator at Fralin and Class of 2023 alumna, said that when writing the design for the exhibit, Wright originally wanted his paintings to be placed on the floor to create. the arrangements are closely related.
“One of the ideas that Holly wanted to have when we first started talking to her about the show was that she wanted people to walk through the final scenes, like. [to] stay with them on the floor,” said Ankrah. “It’s like you’re walking over the body of a loved one, or like you’re in a grave.”
Although this idea was not realized due to the limitations of Fralin’s design, his idea speaks to Wright’s desire for the exhibition to involve the viewer in feelings of death and discomfort, which he achieves by changing the shape of the colors and experimenting with energy. and the depth of each image.
When viewed as a whole, “Vanity,” “poetry” and “Last Images” work together to ask questions about the nature of humanity and the meaning of human connection. Nassif said each series was designed to build on the previous, with the goal of pushing the boundaries of recording as a medium.
“I think he’s interested in playing with what photography can do,” Nassif said. “So everyone.” [the] real human form, as well as, [the] the invisible signs of the body.”
More broadly, Wright’s work speaks to the complexities of life — from self-discovery in “Vanity,” to the unknown connection in “Poetry,” to dealing with death and connection in “Final Portraits.” Through “Holly Wright: The Vanity,” Fralin honors the University’s greatest contributors to the arts.
The exhibition, which is open to all art lovers, will continue at the Museum of Fralin until Jan. 5. Museum hours can be found on their website.
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