{"title":"Vernon Fisher","description":"\u003cp\u003eVernon Fisher (born 1943) is an American artist based in Fort Worth, Texas, whose large-scale paintings and works on paper combine photographic imagery, text and diagrammatic elements to create layered narratives that move between the personal, the scientific and the absurd. Associated with the New Image painting movement of the late 1970s and 1980s, his work was included in the New Image Painting exhibition at the Whitney Museum of American Art in 1978 and has been widely exhibited across the United States.\u003c\/p\u003e","products":[{"product_id":"nina-felshin-verbally-charged-images-ici-new-york-1984","title":"NINA FELSHIN — Verbally Charged Images, Independent Curators Incorporated, New York, 1984","description":"\u003cp\u003eIndependent Curators Incorporated, New York, 1984. Curated by Nina Felshin. Staple-bound exhibition catalogue, 50 pages, 14 × 21 cm. Green printed wrappers; black-and-white and colour reproductions throughout. Artists include Roberta Allen, Ida Applebroog, Dotty Attie, John Baldessari, Luis Camnitzer, Robert Cumming, Vernon Fisher, Douglas Huebler, Jasper Johns, Barbara Kruger, Marcia Resnick, Karen Shaw, Alexis Smith, Anne Turyn and William Wegman.\u003c\/p\u003e\u003cp\u003eIt is a compact 1984 manual for one of the central struggles of the present: not who owns the image, but who gets to tell everyone what the image means.\u003c\/p\u003e\u003cp\u003eCurated by Nina Felshin for Independent Curators Incorporated, Verbally Charged Images gathers fifteen artists working at the point where photography, painting, Conceptual art and mass-media language begin interfering with one another. Its subject appears simple: words combined with images. Its proposition is not.\u003c\/p\u003e\u003cp\u003eFelshin is interested in the moment language stops behaving as explanation and begins operating on the image itself. A caption can redirect a photograph. A sentence can introduce guilt, humour, menace or doubt. Text can turn documentation into fiction and advertising into accusation. The picture may remain physically unchanged while its meaning moves somewhere else entirely.\u003c\/p\u003e\u003cp\u003eBarbara Kruger tells the viewer “You are a captive audience.” Douglas Huebler inserts conceptual propositions into painted space. Baldessari, Camnitzer, Applebroog, Resnick and others repeatedly expose the same mechanism: seeing is never entirely innocent once somebody else has supplied the words.\u003c\/p\u003e\u003cp\u003eForty-two years later, generative AI pushes the structure one stage further. The verbal charge no longer necessarily arrives after the picture. A sentence can now precede it, instruct it and produce it. Image → caption has become prompt → image → caption → circulation. The technology changed. The contest over framing did not.\u003c\/p\u003e\u003cp\u003eCondition: good. Visible rubbing and handling to wrappers, surface marks, edge wear and small creases consistent with circulation and age; internally sound.\u003c\/p\u003e","brand":"Independent Curators Incorporated","offers":[{"title":"Default Title","offer_id":54287484059986,"sku":null,"price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Felshin_Nina.VerballyChargedImages.1984.jpg?v=1786967412"}],"url":"https:\/\/thenewrare.com\/collections\/vernon-fisher.oembed","provider":"The New Rare","version":"1.0","type":"link"}