Marion Faller
A resurrection of the exquisite Corpse, 1978

  • 4546
A resurrection of the exquisite Corpse
A resurrection of the exquisite Corpse
A resurrection of the exquisite Corpse
A resurrection of the exquisite Corpse
A resurrection of the exquisite Corpse
A resurrection of the exquisite Corpse
Dimensions
10.5" H x 5" W
Image Notes
Gift from Marion Faller includes typed and signed index card note.
Catalogue Number
2019.011
Current Location
Artist Books

Object Specific Text

for Light Work [handwritten],

A RESURRECTION OF THE EXQUISITE CORPSE was printed on the A.B. Dick press at the Visual Studies Workshop, Rochester N.Y., on Alling and Cory Gator-Hide Kraft Paper.

The figures are from several volumes  in The Dover Pictrioal Archives Series (Dover Publications Inc.), The Encyclopedia of Source Illustrations ( Morgan and Morgan, Inc.), children's drawings, my own photographs, and other sources.

I wish to thank Joan Lyons for her encouragement and ideas, for many of the images, and for technical assistance. Special thanks to David Chappe for the printing job. 

39/52

[signed] Marion Faller

Marrion Faller
January 1978

Typed index card:
Hi Phil,
This is one of two packages -- a note is in the other pkg. -- Hollis tells me that there are 48,778 possible figure combinations in this book.

Best,

[signed] Marion
 

About the Artist

Marion Faller

Born1941
Died2014
BirthplaceWallington, NJ
GenderFemale
CitizenshipUnited States
Cultural HeritageEuropean-American

Essays

Just as paths are worn over time to connect locations, so the outlines of our lives are exposed by accumulated events, from the genetic patterns we inherit, to our position in family photographs. Before we realize it, our experiences have repeated over time to chart a signature constellation. Attention to detail is the starting point of Marion Faller's wide range of projects that evolve into inventories of living traditions. In this retrospective of her work titled, DETAIL - REPETITION - VARIATION, seven selections from her major projects of the last decade are presented.

In her TIME CAPSULE series, Faller has followed two years in the life of her son, Will, by photographing the objects she cleaned out of his pockets on laundry day. Beginning in 1979, when Will was twelve, Faller recorded 110 days of candy wrappers, pennies, pocket knives, and an assortment of other miniature prizes. Each wash day is represented by a small still life that has been photographed against a medium grey card, printed 4 x 6 inches - to life size - and matted in a sequence of five across. The arrangements challenge our notion of 'still life' in their lively expression of physical and intellectual activity. The warm realistic colo of the photographs brings us even closer to the personal nature of the project which is about mother and son. The cherished details of Will's daily travels contribute also to the broader tale of adolescent growing pain where plastic insects and pipe cleaners give way to cash receipts, a comb, and occasional detention slip.

FLORA (1977 - 1979), the earliest series in the exhibition, explores women of different ages are who are 'decorated' with the names of flowers. Faller uses late nineteenth century photographs of anonymous women and frames them with silhouettes of their namesake flowers, ribbons, and other notions. Though they share the same format and generally central position, each portrait undergoes a unique process from straight black-and-white print to cyanotype and some collage as well.

LOCAL CONVENTIONS (1979 - 1983) is a wonderful contribution to backyard cultural history where Faller combines straight documentary with the repetition of a theme to make wry commentary on the accepted arrangement of outdoor property. Each set of four post card sized photographs plots what Faller describes as, 'the everyday aesthetic decisions that people take--decisions that are usually personal and traditional at the same time.' The seasons are an important aspect of this selection taken from a larger series of over 200 photographs. The homemade goblins on porches in October and the flower boxes full of petunias in July were photographed at rural Central New York crossroads and record preparations for the welcome change of seasons.

NATIVITY is an ongoing survey started in 1982 as another 'theme and variations' collection. Faller exposes our pagan instinct for filling spiritual voids with pageantry in our generic depictions of the holy family. While she was involved with this series, Faller made connections with Kate Koperski, a folk art consultant also living in Buffalo, NY. SWIENCONKA and the ALTARS are a result of this logical alliance. The swienconka, or Easter baskets, were photographed at the St. John Kanty R.C. Church in Buffalo on Holy Saturday. Each 16 x 20 inch color photograph is taken at an angle where the owner tips her or his basket towards the camera for us to admire.

In the catalogue of their joint exhibit, 'The Iconography of Rebirth, Aspects of the Polish American Easter Celebration', Koperski explains that these personal variations on the tradition of blessing and sharing special food in Spring fuel the survival of the ritual and our desire to contemplate it. NEITHER-NOR, A PRIMER is the newest portfolio of prints that celebrate compound words 'whose meaning is given in neither the former word nor the latter.' The simple graphic illustrations of paired words like footnote, greenhorn and dreamboat have been generated on an Amiga 1000 computer.

The prints are set up like pages from a book and combine elements of printmaking with media production in an 'easy reader' style. This series is a whimsical departure from her straightforward documents of social customs but refers to a legacy of manuscript illumination. The variety of projects represented in this exhibition demonstrate the artist's flexibility in charting the quirks of human nature. From the personal and public standpoint Faller applies her skillful observation, a creative willingness to collaborate with her subject, and free spirit to experiment with process. Faller's consistent attention to detail provides the direction to coexist with past and future.

Gina Murtagh (c)1988

Just as paths are worn over time to connect locations, so the outlines of our lives are exposed by accumulated events, from the genetic patterns we inherit to our position in family photographs. Before we realize it our experiences have repeated over time to chart a signature constellation.

Attention to detail is the starting point of Marion Faller's wide range of projects that evolve into inventories of living traditions. In this retrospective of her work titled Detail - Repetition - Variation, seven selections from her major projects of the last decade are presented.

In her Time Capsule series Marion Faller has followed two years in the life of her son Will by photographing the objects she cleaned out of his pockets on laundry day. Beginning in 1979 when Will was 12 Faller recorded 110 days of candy wrappers, pennies, pocket knives, and an assortment of other miniature prizes.

Each was day is represented by a still life that has been, printed 4 x 6in to life-size and matted in a sequence of 5 across. The arrangements challenge our notions of still life in their lively expression of physical and intellectual activity.

The warm realistic color of the photographs brings us even closer to the personal nature of the project, which is about mother and son. The cherished details of Will’s daily travels contribute also to the broader tale of adolescent growing pain we're plastic insects and pipe cleaners give way to cash receipts, a comb and occasionally detention slip.

Flora (1977 to 1979), the earliest series in the exhibition explores women of different ages who are decorated with the names of flowers. Fowler uses late 19th century photographs of anonymous women and frames them with silhouettes of their namesake flowers, ribbons, and other notions. Though they share the same format and generally central position, each portrait undergoes a unique process from straight black and white print to cyanotype and some collages as well.

Local Conventions (1979 to 1983) is a wonderful contribution to backyard cultural history where Faller combines straight documentary with the repetition of a theme to make wry commentary on the accepted arrangement of outdoor property. Each set of four postcard-size photographs plots what Faller described as, “The everyday aesthetic decision that people make - decisions that are usually personal and traditional at the same time.” The seasons are an important aspect of this selection taken from a larger series of over 200 photographs. The homemade goblins on porches in October and the flower boxes full of Petunias in July were photographed at rural Central New York crossroads and record preparations for the welcome change of weather.

Nativity is an ongoing survey started in 1982 as another “theme and variations” collection. Fowler exposes our pagan instincts for filling spiritual voids with pageantry in our generic depictions of the holy family. While she was involved with this series Fowler made connections with Kate Koperski, a folk art consultant also living in Buffalo, NY.

Swienconka and the Altars are a result of this logic alliance. The swienconka, or Easter baskets, were photographed at the St. John Kanty R. C. Church in Buffalo on Holy Saturday. Each 16 x 20 inch color photograph is taken at an angle where the owner tips her or his basket towards the camera for us to admire. In the catalog of their joint exhibit, “The Iconography of Rebirth: Aspects of the Polish American Easter Celebration,” Koperski explains that these personal variations on the tradition of blessing and sharing special food in Spring fuel the survival of the ritual and our desire to contemplate it. 

Neither - Nor: A Primer is the newest portfolio of prints that celebrate compound words “whose meaning is given in neither the former nor the latter.” The simple graphic illustrations of paired words like footnote, green horn and dreamboat have been generated on an Amiga 1000 computer. The prints are set up like pages from a book and combine elements of printmaking with media production in an easy-reader Style. This series is a whimsical departure from her straightforward documents of social customs but refers to a legacy of manuscript illumination. 

The variety of projects represented in this exhibition demonstrate the artist flexibility and charting the course of human nature. From the personal and public standpoint Faller applies her skillful observation, a creative willingness to collaborate with her subject, and free spirit to experiment with process. Faller's consistent attention to detail provides the direction to coexist with past and future.

Marian Fowler lives in Buffalo, NY and teaches at the State University of New York at Buffalo.

 

Gina Murtagh