W/E 001–015: One- and two-color framed risograph prints on 110 lb archival. Each is an edition of 50, with 20 signed.
Contributors: Amy Yao, Asher Penn, Benjamin Critton, Dante Carlos, Eric Wrenn, Jesse Hlebo, John Bohl, Keegan McHargue, Letha Wilson, Mark Owens, Marlous Borm, Megan Plunkett, Nick Paparone, Primetime, and Rafaël Rozendaal. Photography by David Brandon Geeting.
HARMONY KORINE / Much of Korine’s work is based around the dark humor and absurdism involved in dysfunctional childhoods, mental disorders, and poverty. This is often incorporated into surrealist, non-linear forms and presented experimentally (see the mix of Polaroids, Super 8 and 35mm film that makes up Gummo). Blackface, tap-dance, and minstrelsy are common elements to Korine’s work. “I’m a huge fan of vaudeville – like Fanny Brice, Eddie Cantor, and Al Jolson… There’s this random tragedy associated with the decline of the vaudeville entertainer, which is a theme in Gummo that I completely stole from vaudeville.” Like vaudeville, the narrative of Korine’s work is abstract and works by association. Korine compares this concept to a book of private photos. On their own each photo would be seemingly random and devoid of context, but because they are compiled in one volume and presented in succession, a narrative exists. “That’s how Gummo was written.”Improvisation is also an important filmmaking technique for Korine, as a way to maintain his movies as “living thing[s].” Korine does not try to write messages or meanings into his scripts, as he finds it belittling to the audience. With his films, Korine strives to retain a “margin of the undefined.”