Revising History

Revising History is made by replacing the entire central figure in vernacular photographs with images of myself. The work engages the audience in a conversation about how historical depictions of women, rife with aesthetically pleasing glamour, are used to help us idealize the American past. Using performative techniques and stagecraft, the protagonist navigates her societal expectations sardonically, drawing a sharp parallel with the culture of discrimination women still experience today.

The captivating aesthetic present in post-war American photography encourages us to believe that it was a time of civility when it was actually a time of discrimination and gender inequality. A woman's future, both personally and professionally, was usually determined by her beauty and physical presentation, rather than her skills or qualifications. Yet, the visuals of the post-war era act as a mask—covering up and glossing over a past that is more convenient to forget using aesthetic appeal. These visuals draw the audience into a conversation about the narrative we have devised regarding the American past.

Using an elaborate performative process, the subject of the photograph is replaced entirely. The work relies on costuming, physical improvisation, and highly detailed studio photography work, rather than on digital manipulation. Period-correct vintage attire is selected from a clothing archive for each image. Visual appearance is transmogrified using hair and makeup techniques learned from vintage beauty manuals. The end result appears as a record of time and place yet crafts its own reality, myth, and falsehood, not unlike a traditionally made photograph.

All works are archival pigment prints. Dimensions vary.