Abstract
The Vermont-based rock band Phish has cultivated a loyal following without mainstream commercial success. Their enthusiastic fan base follows them on tour every year, attends Phish-centric music festivals, creates art inspired by the band, and keeps meticulous databases of performances. They are, to be sure, an interesting group of people, worthy of documentation. Photographer Michael Sell creates large-format black and white portraits of Phish fans as part of his artistic studio practice. These intimate images provide a stark contrast to the colorful, energetic psychedelia of Phish’s live shows, each image a quiet confrontation between a Phish fan and the viewer. The work examines issues related to constructed personality, taxonomy, and replication, revealing, in the words of Roland Barthes, “that which has been.” The images also represent a connection between the photographer and subject, or artist and audience, and so parallel the listening experience of the music fan tuned in to a performer at a show. In his paper, Sell presents his latest body of images from Phish’s 2020 summer tour. His study addresses portraiture, representation, and how his portraits catalog shared experiences and the public persona of strangers. Using examples of past portraits and the theories of Barthes and Susan Sontag, Sell describes his process and aims, while investigating the image’s primary role within his artistic practice and fandom.
Presenters
Michael SellAssociate Professor of Art, Art, Eastern Oregon University, Oregon, United States
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
KEYWORDS
Photography, Film, Art, Portrait, Technique, Community, Camera, Music, Arts
