Intrigued by the language ICA’s registrars have used to record the condition of objects as they enter and leave the museum (“damage reports”), filmmaker Elisabeth Subrin recasts these handwritten documents as an ethereal presence in the gallery.
ICA@50: Elizabeth Subrin exhibition card
Elisabeth Subrin: Damage Report: Francesca Woodman: Photographic Work (1989)
in ICA@50: Pleasing Artists and Publics Since 1963, Installation view, Institute
of Contemporary Art. Photo: Aaron Igler/Greenhouse Media.
Elisabeth Subrin: Damage Report: Francesca Woodman: Photographic Work (1989)
in ICA@50: Pleasing Artists and Publics Since 1963, Installation view, Institute
of Contemporary Art. Photo: Aaron Igler/Greenhouse Media.
Elisabeth Subrin: Damage Report: Francesca Woodman: Photographic Work (1989)
in ICA@50: Pleasing Artists and Publics Since 1963, Installation view, Institute
of Contemporary Art. Photo: Aaron Igler/Greenhouse Media.
Elisabeth Subrin: Damage Report: Francesca Woodman: Photographic Work (1989)
in ICA@50: Pleasing Artists and Publics Since 1963, Installation view, Institute
of Contemporary Art. Photo: Aaron Igler/Greenhouse Media.
