E. (All Thumbs) 1997

Editor: This is "E. (All Thumbs)" created by Al Taylor in 1997. It seems to be a photographic print, in black and white. It's odd, a thumb takes up most of the frame and it has what looks like ink drawings on and around it. What’s your read on it? Curator: What strikes me immediately is how Taylor appropriates and subverts the traditional genre of portraiture. How does presenting a thumb, usually a peripheral detail, challenge our expectations of subject and representation? Think about how power dynamics usually influence portraiture. Editor: I hadn't thought about that. Is the 'E' in the title significant, relating it to a specific person? Curator: Potentially, or it could be a red herring, pushing us to consider the abstract qualities of the thumb rather than a literal portrayal of someone. I mean, how do institutions elevate certain figures while ignoring the mundane realities that form the backbone of society? This artwork maybe questions that dynamic. Editor: It definitely shifts the focus. I was initially put off by how…unrefined it seems, almost like a snapshot. Curator: Precisely. Taylor disrupts established hierarchies. He forces us to reconsider our aesthetic biases. The raw presentation is a conscious choice, aligning him with other contemporary artists critiquing the polished presentation of artwork in established institutions. Do you think the lines are about a constellation or a connection to a higher power? Editor: Perhaps it is making that connection. It’s given me a new appreciation for how a seemingly simple image can challenge such broader ideas about representation and artistic value. Thanks! Curator: Absolutely, it’s a powerful reminder of how art institutions play a role in establishing canons, and the politics involved in selecting what deserves our attention.