Framing all these, attic black, full of something stored. And a black-and-white photograph, with or without a fragmented caption. This fixed set—nine colours plus one photograph—reshuffles in shape across the six small tempera paintings that comprise Doug Ashford’s series Six Moments in 1967 (2008-2011). With a colour omitted here and there, each work tests out the allotted palette in a varying repertoire of abstract shapes, which reflect but do not conform to the square dimensions of the wood panel support: cropped planes; squares askew; swatches cut on a bias; cleated planks; shims and sills; irregular brackets. Each photograph acts as a heuristic for the painted configurations it provokes. Culled from Ashford’s long-running collection of clippings and tear sheets, the photographs document instances of collective, democratic mobilisation in the anti-war and Civil Rights movements in 1967: a protest in Detroit, the October antiwar march at the Pentagon, another peace march elsewhere, and a demonstration in Vietnam.
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Published in Photoworks Issue 18, 2012
Commissioned by Photoworks