Untitled (Abloom)

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Artist Leslie Hewitt(American, born 1977)American, born 1977

CultureAmerican

Titles

Untitled (Abloom)
from the series Blue Skies, Warm Sunlight Study

Date2012

MediumChromogenic print, ed. 3/4

DimensionsImage: 30 × 40 in. (76.2 × 101.6 cm)
Frame (outer): 31 × 41 × 1 1/2 in. (78.7 × 104.1 × 3.8 cm)

Credit LineMuseum purchase funded by Barbara and Michael Gamson

Object number2012.382

Not on view

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Department

Modern and Contemporary Art

Object Type

PHOTOGRAPHS

ProvenanceThe artist; [Sikkema Jenkins & Co., New York]; purchased by MFAH, 2012.
Exhibition History"Statements: African American Art from the Museum's Collection," The Museum of Fine Arts, Houston, Millennium Gallery, January 24–May 23, 2016.
Published References While this new work has yet to be published, Kate Menconeri’s 2009 discussion of Hewitt’s work can be applied to this image: Kate Menconeri, The Everyday / Leslie Hewitt, Center for Curatorial Studies, Bard College, 2009: Hewitt’s work is significant for the ways in which it questions history, memory, time, and the language of images, but something gets lost when neatly matched to one of those topics alone. What is perhaps most compelling, opening into conundrum or epiphany, is the way in which this work allows for multiple readings and perspectives at once, as a gesture, if not a call for an ethos of seeing. Inspired by Third Cinema, conceptual art, and modes of syncopation—Hewitt’s vantage point seems at once poetic and critical, and as deeply tied to the past as it is to a hope for the future. Hewitt reshuffles historical and everyday ephemera in a new suspended time and context to consider the role of images and objects in our personal and collective consciousness. In the series, Riffs on Real Time, 2008, three perspectives, or frames, are literally and conceptually compressed into one new photograph. Snapshots of domestic personal scenes—a family at a picnic or banal living room interiors, are layered over items that circulate in public and private contexts—books without title, UN treaty maps, magazine pages, or letters—that often show the signs of time and handling. Both come together in the “real” space of a hardwood floor, creating new conversations about the role of photography in our interior and exterior worlds, “where do they meet, conflict, or come apart?” Inscriptions, Signatures and Marks

Gallery sticker on verso

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