BODY ON FILM (Fig. 8), one of, if not the only non-collage piece in the exhibition is a photograph of a cow carcass, trimmed of its flesh - something similar to what you might find in a modern factory farm. This carcass however hangs alone from a fixture typically used for rigging lights or other studio implements. The subject matter of the cow, through human intervention becoming an oppressed object of consumption, in this image fills in for the model in the studio, whose flesh also becomes an object of spread consumption - in terms of scopophilic pleasure - through photographic means. In this sense, the (factory) farm is analogized with photography and its common practices (abundantly taking place on or alongside the internet, a free market of visual information) in their objectification and commodification of living entities.
In summation, Baby Blue Benzo (as a gallery experience) offers several analyses on a network of issues affecting our modern life, particularly as it is filtered through virtual channels. The common quality of each of the works on display; as well as the gallery space itself, their mode of presentation - a mode which displays its (materially or digitally) constructed nature - reveals to the viewer the methods by which the often illusory quality of digital experience is itself constructed by modern technologies, and by the corporations and individuals; the producers, consumers, and pro-sumers, who participate in their economies.
Gallery
