I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...
The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...
The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...
Michael Lett is pleased to present THE MAKING OF CARBON COPY 2018, a new site-specific installation by Jacqueline Fraser.
This elaborate work offers an alternate behind-the-scenes narrative of the 1981 film Carbon Copy. Tackling prejudice within an exclusive Californian community, this comedy stars a young Denzel Washington in his feature-film debut.
THE MAKING OF CARBON COPY 2018 is bourgeois, elegant and formal. Gold tinsel chandeliers hang amidst swathes of fabric, collages and embroidery. Images taken from magazines and gardening books create fictional scenes from the film, repeating themselves in unexpected juxtapositions. Anything with a picture is fair game.
Fraser's 'THE MAKING OF' collages and installations are an ongoing series of works which are conceived as fictional, fantasies of possible cult movie remakes. Drawing on film as a starting point to explore different subcultures, these works often seek to challenge various social preconceptions.
Jacqueline Fraser has been nominated as a finalist in The Walters Prize 2018.
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