Excited to see that this has been reblogged a bunch of times and came into my stream with its artist credit intact, and that Lauren’s artist statement was included as well.
Alas, the title credit refers to the other 20x200 edition by the talented Ms. DiCioccio, which you’ll find here: Vogue JUL07:pg145 (Ripeness is All)
The image above is called Vanity Fair MAY08:pg269 (and, incredibly, looking not a day older).
Related: The newsletter I wrote announcing the release of these two even-more-gorgeous-in-person editions.
Vogue JUL07:pg145 (Ripeness is All)
by Lauren DiCioccioI make sculptures and paintings about my anticipatory nostalgia for obsolescing paper media objects. The softness of a read newspaper page and the glossy slickness of a fresh magazine page are sensations embedded in our physical memory — the familiarity of touching these objects allows a relationship to form in the process of consuming the information they provide. When these objects disappear from our culture and assume the homogeneous texture of a back-lit screen, I fear that some of our intimacy with the process of reading will fade.
Fashion magazines are the source materials for my series color codification dot drawings. I make each piece on a sheet of frosted mylar laid over a magazine page. After assigning a color to every letter in the alphabet (numbers are in grayscale, 0=white and 9=black), I apply tiny dots of paint over every character on the page. Each drawing I make has a different color codification, and therefore a different palette. The resulting painting is a legible blur of dots in the form of the article’s layout — like a system of Braille for the color inclined.
