"By selecting especially generic spaces and relegating historical cues to the perceptual and emotional perimeter, the photographer constructs an image that obviates this usual act of remembering. In this way, the viewer is prevented from entering into a subjective relationship with the picture, and the memento mori function of the photograph is itself generalized and made impersonal: without the invitation to recall a specific event in the past, we're not likely to consider our own personal march toward death, as is the case with many photographs. Rather, we contemplate these spaces and their implied practices, we recognize that historical time-or civilizational time-as a whole is coming to an end.
In the tradition of fairytales, then, which often achieve uncanny effects by exaggerating our conventional narrative experience of scale (e.g. a shoe blown up to an incredible size), these photos produce unease by hyperbolizing our conventional photographic experience of time. Like all photos they stop time; it's just time at the end of time."
Below are some of the images that Giles uses as examples of "end-of-the-world-photographs."
From Top To Bottom:
Thomas Demand, Copyshop 1999
Richard Ross, Toddler classroom, Montessori Center School, Goleta, California
Taryn Simon, Cryopreservation Unit, Cryonics Institute, Clinton Township, Michigan
All Images © The Artists
From Top To Bottom:
Thomas Demand, Copyshop 1999
Richard Ross, Toddler classroom, Montessori Center School, Goleta, California
Taryn Simon, Cryopreservation Unit, Cryonics Institute, Clinton Township, Michigan
All Images © The Artists