75V08 Possibly 1973 - 1993

Editor: This is John Divola's "75V08", a gelatin silver print, likely made between 1973 and 1993. It shows the corner of a room, covered in what looks like floral wallpaper with bright spots all over it. The monochrome gives it a sort of eerie feel. What stands out to you about it? Curator: I'm drawn to how Divola plays with our understanding of space and place. Consider the context: this image comes from a series documenting vandalized houses. How does knowing that shift your perspective on the “eerie feel” you described? Editor: It makes me think about abandonment and neglect, rather than just seeing a pretty, albeit strange, pattern. Curator: Exactly. Divola photographs these sites not as objective documents, but as interventions. He adds elements—graffiti, light—altering the space, then capturing the transformation. So, what is Divola communicating to the audience by photographing in places that could have once been considered homes? Editor: Maybe he's commenting on the impermanence of things, or the societal issue of urban decay? And by intervening, he's also claiming these spaces in a way. Curator: Precisely. Consider how institutions – from banks to city planning – shape neighborhoods and create spaces of both opportunity and neglect. Divola's act becomes a kind of temporary, defiant re-claiming. Does that tie into Conceptual Art for you? Editor: Yes, that makes a lot of sense! It’s like the documentation is a trace of a performance or a social commentary. I initially just saw a photograph but now I’m seeing something so much deeper! Curator: It is important to keep in mind the conditions in which art exists in relation to history, as well as its interaction with people. Now I am also seeing things I never noticed before. Editor: This definitely broadened my perspective on the role of photography beyond just documentation. Thanks!