This salon-style installation, which sidesteps chronology, presents the American artist as a formal and intellectual risk-taker in the arenas of queer history and social space. Twelve black-and-white photographs, shot between 2001 and 2007, slyly restage David Wojnarowicz’s cult classic “Rimbaud in New York,” for which he posed around the city, in 1978, wearing the photocopied visage of the French poet (who, like the artist, was gay). In turn, Roysdon’s mask depicts Wojnarowicz, establishing a lineage across gender, as well as across centuries. Her more recent photograms, shadowy compositions created using multiple exposures, suggest an idiosyncratic system for marking the passage of time. The foregrounding of process in this playful project illuminates Roysdon’s passionate belief that making art is a form of record-keeping, in both the public and the private domain.
More information available at: http://www.newyorker.com/goings-on-about-town/art/emily-roysdon-2