I am interested in the nature of photography and the ways in which photographs operate. Photography, in its current position, is suffering from a crisis of definition. It is a self-conscious medium whose constitution is unclear. The failures of documentary photography encourage me to point towards the photograph itself, towards its surface and its superficiality.
These images are photographs of the shared work surfaces used by Rutgers University art students, some of which have been in use for decades. They tell a story of the joint marking of the work surface by aspiring students training to be artists. They tell a story of angst, pride, difficulty, and daydreams, all flowing from the students’ unconscious doodling and scribbles. As photographs, they are experienced in the flatness of two dimensions, in photographic scales and proportions, and color spectrum. Ultimately I am interested in the dual connotations that these images have. Rather than being a pure negation of the documentary image and its function they represent a place of oscillation between the success and the failures of documentary photography.
Megan Flaherty (New City, NY) earned her BA from Prescott College and her MFA from Mason Gross School of the Arts at Rutgers University. Her work has been exhibited in group shows at The Shore Institute of Contemporary Arts (Long Branch, NJ), White Box Gallery (New York, NY), and the Mason Gross Galleries (New Brunswick, NJ), among others. A solo exhibition, The Exotic is Easy to Come By, was on view at Play of Light Gallery in Catskill, NY in 2011. Megan’s work is in the collections of the Frederick and Frances Sommer Foundation and Istituto Lorenzo De’ Medici in Florence, Italy. She was the Center for Photography at Woodstock’s Program Associate from 2007-2009.