What Does Photography Even Mean Anymore, Really?
Alison Rossiter merges traditional methods of photography with more experimental techniques in her work with gelatin-silver-based photography, using a labor-intensive darkroom process that allows ample opportunity for chance. Working directly with expired photographic papers, she reduces the medium to its minimal components and revealing the qualities inherent in each individual paper to produce subtle, abstract compositions, sometimes by "drawing" on them with flashlights to make photograms. In her ghostly Lament series, for instance, the artist teases out irregular and imperfect colors and textures by exploiting the quirks of the papers themselves, creating works that are both product of and witness to her interventions.
Rossiter's interest in photographic conservation—a field she explored as a volunteer at the Metropolitan Museum of Art in 2003—informs her fascination with this obsolescent technology, reviving and rendering it viable at a time when many artists are converting to digital photography. Her ethereal, minimalist works have been exhibited in shows at the the Minneapolis Institute of Art, the National Gallery of Canada, SITE Santa Fe, the Whyte Museum in Banff, and other institutions. She has also had her work published in the New York Times's T magazine and elsewhere.
Rossiter's interest in photographic conservation—a field she explored as a volunteer at the Metropolitan Museum of Art in 2003—informs her fascination with this obsolescent technology, reviving and rendering it viable at a time when many artists are converting to digital photography. Her ethereal, minimalist works have been exhibited in shows at the the Minneapolis Institute of Art, the National Gallery of Canada, SITE Santa Fe, the Whyte Museum in Banff, and other institutions. She has also had her work published in the New York Times's T magazine and elsewhere.
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