13 December 2025
Another significant bit in the New Models podcast episode mentioned in the previous post was Allado-McDowell's mention of Edward Steichen's landmark photography exhibition The Family of Man (first shown in 1955) as an early example of a “multi-channel environment” in which, due to its dynamic installation, a viewer could in theory produce their own subjectivity via the way they chose to navigate the presentation. This led to further conversation on how media constructs physical space as well as information—the television gathering people in a living room. Naturally this led me to think about paintings as organizers of space, information, and subjectivity. There's room to push this further in my work, maybe experiment with a more tenuous approach to cohering my spatial recordings, see how far they can bend before they break. David Salle immediately comes to mind as a potential tangential relation.