DC 3577, Matthew Pillsbury, Alli and Deirdre Lord, Christine Matheis, et al; The Bachelorette, February 4th, 2004, platinum print, 2004. Gift of John MacMahon ’95
When looking through Van Every/Smith’s collection, I was immediately drawn to Matthew Pillsbury’s photograph, Alli and Deirdre Lord, Christine Matheis, et al; The Bachelorette, February 4th, 2004. I have always enjoyed platinum prints, particularly images that use double exposure to create a duality of stillness and movement. Pillsbury’s scene feels lived in, as if the viewer is peering into someone’s living room as the occupants relax after a long day at work. The white glow that radiates from the TV box serves as the only light source in the print and highlights the individuals gathered together on the couches. Their focus and facing is centered on the captivating TV as the rest of the apartment sits in shadow, only slightly illuminated by the cityscape in the background. The double exposure notes a passage of time, yet it seems that the individuals never leave their positions nor do they differ their attention away from the screen. Suggested by the title, I am reminded of my own viewings of The Bachelorette with my friends, all of us gathered around and sitting together to watch the two hour episodes. I understand how the individuals are drawn into the screen so intently as the drama-reality TV series is captivating in its unique way. Pillsbury creatively juxtaposes one’s fascination with fantasy and others’ lives with the demands of reality through the screen itself and the cityscape background.
Pillsbury is an American photographer who published a series titled Screen Lives, in which this print comes from. Pillsbury’s work lives in the permanent collections of the Museum of Modern Art, Musee du Louvre, and The Tate Modern, among others, and he is represented by the Bonni Benrubi Gallery in New York.