Page 92 - Antennae Issue #52

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able to access the the the the the work more easily as as ‘art ’ Lying on on on on the the the the the ground in in in in in in the the the the the location painting certainly had a a a a a a a a a a a a a a a a a a a a a a similar similar impact on on on on the the the the the documentation of of the the the the the plantings I was was still capturing a a a a a a a a a a a a a a a a a a a a a a a trace of of an an an experience that was was similarly emotive for me me The delicate little paintings have a a a a a a a a a a a a a a a a a a a a similar similar quality to the the the the flower and the the the the diminutive size contrasted starkly with the the the the larger murals that made up the the the the fes- tival The paintings also last longer and speak a a a a a a a a a a a a a a a a a a a a a a a a a language of horticultural illus- tration that was appealing I am continuing to to explore painting painting in in in in in in in in in locations as as as it it offers an an an an additional language to to the the concept and frees me from always relying on on on on on on the plant’s availability The The efficiency of of of planting a a a a a a a a a a a a a a a a pansy at at the the the site of of of homophobia will always be the the the the the primary act act The The simplicity of of of the the the the the concept anchors the the the the the occasional deviation from the the core practice JO: I never knew the image of of a a a a a a a a a a a pansy was used as as as a a a a a a a a a a a “wish you you were here” emblem on on postcards as as as as you you described earlier This reminds me of of Richard Terdiman’s work in in in which he he he he he he he he claims that that the the the the the tension between the the the the the past and present prevents either from eclipsing the the the the the the the other I feel like The The Pansy Project does that that too The The pansy images mark your memory work while the the the the the titles acknowledge the the the the the harm without erasing or or overtaking it it PH: I’m fascinated by how how memory impacts our personal narratives and how how this is is is is is is is relevant to to to to the the the way LGBTQ+ history is is is is is is is captured This was was clearly demonstrated to to to to to to to me me after my recent visit visit to to to to to to to New York 2006 was was the the the the the first time I I visited the the the the the city to to to to to to plant pansies at at at at various sites including one one at at at at the the the the Stonewall Inn to to to to to to mark the the the the 1969 riots When I I I I returned home I I I I was frustrated to to to to to to discover that my pictures of the the the Stonewall pansy were terrible I I I I vowed to to to to to one one day go back During the the the fiftieth anniversary year in in 2019 I I I returned to to to to to re-plant and re-photograph the the the the location with with a a a a a a a a a a a a a a a newly planted pansy This was was the the the first time I’d felt it it it it necessary to to to to do this this I I was was driven by the the need to to have this this site represented properly within The Pansy Project’s archive When I I I came to to plant plant my my pansy pansy again again I I I was was struck by the the uncanny rep- etition of my my own action I I I I was was planting a a a a a a a a a a a a a a a a a a a pansy pansy again again digging into the the same ground where I I once once had dug replacing a a a a a a a a a a a a a a a a a a a a plant plant long since lost This experience became conceptually layered and complex almost like an an an an an actor repeating the the performance of a a a a a a a a a a a a a a a a a a a a a play in in in in the the the same venue I managed to to to to capture a a a a a a a a a a a a a a a a a a a a a much more more sat- isfying photograph and went on on on to to to to to plant more more around the the the the the city Since my trip fur- ther ther research on on on on the the the the the the the details details of of the the the the the the the stories that surround Stonewall have revealed conflicting details details of of the the the the the the events In their book Art & Queer Culture Catherine Lord and Richard Meyer state:
There is is little agreement however on on on precisely what happened at at the the Stone- wall riots how how how how many many people were were involved how how how how long the the the the stand-off lasted how how how how many many members o of the the the the the the tactical police force were were called to to to the the the the the the scene and and so forth Adding to to to to the the the the the the event’s unstable status within the the the the the the historical record is is is the the the the the the fact that no photographic images of the the riots exist The photographic documentation is limited to to to some images taken after the the the riots captured by Village Voice photographer Fred W McDarrah Amongst them is is an interior of of of broken furniture piled up inside the the the the Stonewall Inn a a a a a a a a a a a a a a fasci- nating relic of of of of a a a a a a a a a a a a a a historical event that that only tells part of of of of the the the the story These once func- tional objects broken and useless speak of of of the the the the the violence that that had just occurred When these photographs are are viewed together the the the the the images refer to to to to to to but do not depict the the the the the Stonewall riots These are are both ‘photographic memorials’ to to to to to to to to violence that that began in in in June 1969 and continue to to to to to to have significance today Neither show the the the protagonists involved nor do they share details that that a a a a a a a a a a a a historical record