Over the last decade, Debi Cornwall has been investigating the fictions fueling America’s idea of itself. Her vivid, formally composed color documentary photographs serve more to provoke than to inform, inviting a closer examination of how state power is performed, consumed, and normalized. This exhibition features two bodies of work representing two sides of the same coin.
What are the stories power tells, the games it plays, to manage unsettling realities?
Necessary Fictions frames this question through the lens of immersive, realistic wargames.
Costumed Afghan and Iraqi civilians, many who fled war, now recreate it in the service of the U.S. military. Real soldiers preparing to deploy practice their possible futures as fighters or casualties of war.
How do staging, performance and roleplay inform ideas about citizenship in a violent land whose people no longer agree on what is true?
Jarringly juxtaposed images from these apparently unrelated sites illuminate systems that reconcile, justify, or distract from the violence pervading a militarized culture.
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Born in the United States, Debi Cornwall is a conceptual documentary artist who returned to visual expression in 2014 after a 12-year career as a civil-rights lawyer. Employing absurdity and dark humour, she sheds some light on invisible systems by layering still and moving images with testimony and archival material.
Debi Cornwall’s first book, Welcome to Camp America: Inside Guantánamo Bay (Radius Book 2017), was shortlisted for the Paris Photo-Aperture First PhotoBook Prize and the Arles Photo-Text Book Award. It was named one of The New York Times Magazine’s top 10 photobooks of 2017. Hyperallergic praised her “eye for the deadpan ordinary detail that lacerates with banality… destabilize[ing] Gitmo’s façade of normalcy through incisive juxtapositions and interpolations.” The book has been exhibited in 15 countries, including Switzerland, South Korea, Belgium, and Germany.
Cornwall’s work is held in institutional collections in the U.S., Belgium, France, and Brazil. It has been featured in European Photography Magazine, the British Journal of Photography, Art in America, Polka, Fisheye, and The Guardian.