74V16 Possibly 1973 - 1993

Editor: Here we have John Divola's photograph, "74V16", made sometime between 1973 and 1993; it's a gelatin-silver print of what looks like an abandoned interior, though it's difficult to tell. There is a strange geometric shape painted on the wall... how would you interpret it? Curator: Intriguing. Divola presents us with a study in contrasts and geometric forms. Note the stark difference between the raw, textured surface of the damaged wall and the precise, painted geometric figure. This juxtaposition creates a visual tension. Observe, too, how the artist utilizes the monochromatic palette to emphasize tonal gradations, almost sculpting the form through light and shadow. Editor: I see what you mean, like a flattening of the distinction between painting and photography as media? Curator: Precisely. Divola directs our gaze not merely at representation but toward the act of seeing itself, pushing the viewer to question the formal relationships at play. The framing, too, is critical. Do you notice how the doorways act as framing devices within the larger frame, further isolating and emphasizing the painted form? Editor: Yes! The doorways create these receding planes, almost like a stage set, or a nested series of images. Curator: Indeed. Divola isn't simply documenting a derelict space. He's using the lens to investigate the nature of perception, abstraction, and the intrinsic properties of the photographic medium. Editor: This really has shifted my perspective! I went in expecting a statement about urban decay, but it’s so much more focused on the picture-making itself. Curator: Art invites us to challenge our assumptions, and this piece, in its stark and calculated way, is no exception.