Aaron Stern's exhibition, 'Hard Copy,' revolutionizes the perception of photographic art by embracing the humble photocopier as a powerful artistic tool. By reinterpreting and circulating images from both established and emerging photographers through xerography, Stern provokes a profound conversation on authorship, the enduring power of the printed image, and the friction between digital transience and tactile permanence. The show challenges traditional art practices, offering an accessible and experimental approach to photography that transcends the preciousness often associated with fine art prints.
The Philosophical Implications of Xerography in Art
Artist and curator Aaron Stern's 'Hard Copy' exhibition at the International Center of Photography (ICP) spotlights the unconventional use of xerography to reproduce photographic works. This exploration delves into profound questions surrounding the nature of originality, the widespread distribution of images, and the continued relevance of physical prints in an increasingly digital world. Stern meticulously reinterprets photographs from renowned artists such as John Divola, Ryan McGinley, and Shaniqwa Jarvis, demonstrating how the meaning of an image can evolve and deepen through its reproducibility. David Campany, co-curator of the New York iteration of 'Hard Copy,' observes that the photocopied image simultaneously feels both integrated and disruptive within the established gallery setting, emphasizing the unique tension inherent in this artistic medium.
Stern's fascination with the photocopier as an artistic medium stems from its democratic nature and its capacity to reinterpret well-known images, offering fresh perspectives. He contrasts the rapid, ephemeral nature of digital imagery with the deliberate tactility of xerography, drawing parallels to the craft movement. While acknowledging the historical connotation of Xerox as a tool for mass, inexpensive duplication, Stern argues that in today's digital age, the act of creating a physical photocopy has become a distinctive, almost anachronistic, art form. This approach challenges the prevailing idea that the ubiquity of smartphone cameras renders professional photography obsolete, asserting that while digital images may lose their individual impact due to overexposure, xerography offers a tangible, impactful, and distinct viewing experience.
Experimentation and Accessibility: A New Vision for Photographic Exhibition
The allure of xerography for Aaron Stern lies in its distinctive aesthetic and its unparalleled potential for inexpensive experimentation. Unlike the arduous and costly process of producing fine art prints, the photocopier allows Stern to rapidly iterate and refine his artistic vision, transforming trial-and-error into a fluid and accessible creative journey. This DIY ethos resonates with the historical spirit of zine-making and protest art, aligning with artists like Raymond Pettibon and Richard Prince who championed less conventional, more immediate forms of artistic expression. Stern appreciates the hands-on control and the ability to work independently, often late into the night, leveraging a technology not originally designed for fine art to achieve unique and compelling results.
Stern's curatorial philosophy extends to breaking down traditional barriers in the art world, particularly concerning the exhibition of photography. He highlights the financial and logistical challenges associated with displaying conventional photographic prints, emphasizing how xerography offers a viable solution for showcasing diverse works without prohibitive costs or lengthy production times. The 'Hard Copy' exhibition features an intergenerational selection of artists, deliberately pairing established figures with emerging talent. This inclusive approach fosters inspiration among younger artists and introduces new audiences to the work of seasoned photographers, benefiting both groups by creating a dynamic, collaborative, and accessible platform for photographic art. The success of 'Hard Copy New York' at the ICP, with the support of co-curator David Campany, marks a significant milestone for Stern, a self-taught artist who has consistently championed non-traditional exhibition methods.