'Alex Prager is an American photographer and film maker. In her elaborately conceived staged photographs, Prager openly references the aesthetics of mid-twentieth century American cinema and photography. Each of her lush colour images resembles a film still – entirely constructed and packed with emotion and human melodrama. In her film work she extends on her photographic practice, moving from the directorial mode in photography to directing an elaborately constructed film. Both aspects of her practice pair the banal and fantastic, the everyday and the theatrical, real life and cinematic representation in lush, richly coloured tableaux '
Eve, 2008, type C photograph
Big Valley, 2019, archival pigment print 121.9 × 175.3 cm
Culver City, 2014, archival print , 149.9 x 224.8 cm
1. Test your comprehension of the video by completing the online quiz below and see if you can score 6 correct answers.
2. Use the internet to investigate the artist William Eggleston.
(Left) Sheryl from the Week-End, 2009 chromogenic print, 61 x 45.7 cm
(Right) Crowd #7 (Bob Hope Airport), 2013, Pigment print, 149.6 x 197.6 cm
Art Criticism: Read through this excerpt, from a 2018 review of Alex Prager's exhibition in London:
'To encounter the work of Alex Prager ... is to experience visual culture shock, the dirty realism of monochrome Britain giving way to the hyperrealism of a postmodern America whose most tangible touchstones are filmic: the baroque strangeness of David Lynch, the melodrama of Douglas Sirk, the hallucinatory unease of Hitchcock circa Vertigo and Rear Window....
Silver Lake Drive – a quintessentially Prager title – presents 40 photographs and a retrospective of her films. It begins with the series The Big Valley, in which Hitchcock looms large – one image even shows a stylish woman startled by a flock of predatory birds. This kind of staged, heightened anxiety, unmoored from any context other than cinema, is a constant throughout this mid-career survey. Unlike the Hollywood films it borrows from, it exists purely as a visual trope, undercutting any emotional power the images might otherwise possess. This, of course, may well be intentional.
Prager has undeniably created a signature visual style that is sustained throughout two floors of this deftly curated show. In one enclave, a Lynchian greenlit room beckons the viewer. Once you emerge from it, the gallery seems bathed in a disorienting pinkish glow. Hitchcock, one suspects, would have approved. What lies beneath these meticulously choreographed mises en scene? For me, they depend so much on their photographic and filmic reference points and, as such, seem oddly empty of any deeper emotional resonance. Therein, too, of course, may lie their fascination for a contemporary art world that elevates photography about photography.'
3. Copy and paste the text from the exhibition review above into a digital word document. Note that there are five activities related to question 2.
In this text, the critic Sean O'Hagan likens Prager's work to that of American filmmaker David Lynch. Despite this, he makes a specific criticism of Prager's work
When finished, upload your analysis of this art critical writing to your shared digital platform for feedback.
Prager uses a range of camera angles to add an eerie psychological, Hitchcockian charge to her shots. Often she shoots from high above the scene and - unusually for a photographer - from down low at around knee height. Sometimes she uses groups and sometimes individuals as her subjects, but her images are always carefully composed. The images sometimes feel a little sinister; the viewer is not quite sure what is happening in the scene. Sometimes the backdrop is only the vibrant blue of the sky.
4. Compose a series of three photographs from a knee-high point of view. Carefully consider the outfits you or your characters might wear. Choose colours that will be vibrant and work well against the blue sky. Consider using one or two simple props, for example, a roll of newspaper, a gardening shovel, a wallet being passed between figures. If you cannot take the photograph against the sky, use an inside room with a white roof but use bright colours in the costume of your figures.