Made in America Jolene Lisa Esposito - Digital Collections

 Made in America Jolene Lisa Esposito Submitted in Partial Fulfillment of the Requirements For the Degree of Master of Fine Arts in Photography at The Savannah College of Art and Design © November 2012, Jolene Lisa Esposito The author hereby grants SCAD permission to reproduce and to distribute publicly paper and electronic thesis copies of document in whole or in part in any medium now known or hereafter created. Signature of Author and Date / / Steve Mosch Committee Chair / / Jenny Kuhla Committee Member / / Dillon McDaniel Committee Member Made in America A Thesis Submitted to the Faculty of the Photography Department in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in Photography Savannah College of Art and Design By Jolene Lisa Esposito Savannah, GA November 2012 Acknowledgements I would like to sincerely thank my grandmother for being a great source of inspiration for this project. Table of Contents I.
Abstract………………………………………………………………………………………………..1 II.
Introduction………………………………………………………………………………………….2 III.
Historical Materialism……………………………………………………………………………2 IV.
Mechanical Reproduction and the loss of Aura………………………………………..3 V.
The Industrial Revolution……………………………………………………………………….5 VI.
Outsourcing……………………………………………………………………………………………5 VII.
America as Photographic Subject…………………………………………………………….7 VIII.
America Today………………………………………………………………………………………...10 IX.
An Object’s Origin…………..………………………………………………………………………..13 X.
Conclusion………………………………………………………………………………………………15 XI.
Works Cited…………………………………………………………………………………………….16 XII.
Figures……………………………………………………………………………………………………17 XIII.
Exhibition Images……………………………………………………………………………………23 XIV.
Image Inventory………………………………………………………………………………………31 Esposito 1 Made in America Jolene Lisa Esposito November 2012 The primary focus of this thesis is to emphasize the changes America has experienced in the past several decades with regard to manufacturing. While America once manufactured well-­‐crafted goods, the onset of outsourcing has caused a shift. Made in America is a photographic illustration of these changes with the goal being for viewers to be more mindful of the origins of objects in their personal spaces. Esposito 2 Introduction The American economy was once based upon the manufacture and export of well-­‐
crafted goods. Increased economic challenges have caused a shift from domestic manufacturing to a service and information-­‐based economy. As a result of consumer desire for low-­‐cost goods and consequential pressure for less expensive labor, Americans’ homes are now filled with imported goods. This was not the case in the recent past. In the photographic body of work, Made in America, I have removed all evidence of foreign-­‐made goods from the photographs I have made of both my own home and the home of my grandmother. This generational contrast illustrates change over time. Within the body of work, I present contrasting scenes; my grandmother’s home suggests warmth and stability, whereas mine is a sad and almost barren interior. Historical Materialism Historical Materialism is a theory for explaining social relatedness based on past historical events and is most closely associated with philosopher and social theorist, Karl Marx. Though Marx’s theories focus heavily on economic theory, they also reflect a broader, sociological view. Marx states, "It is not the consciousness of men that determines their existence, but, on the contrary, their social existence that determines their consciousness."1 According to Marx, materialism informs the way in which we enter social relationships. Initially, people interacted with nature in order to produce goods, but, over time, they began interacting with each other. The process evolved and became more complex. Social 1 Karl Marx, A Contribution to the Critique of Political Economy (Chicago: Charles H. Kerr & Company, 1911), 11-­‐12. Esposito 3 relationships became dependent upon the goods and services that a given group of people produced and those that they required or desired. Today, the foundation of our capitalist society is largely predicated on trade relations that have both economic and socio-­‐political impact.2 Made in America is a contemporary illustration of Historical Materialism and provides evidence of how the economy has shifted radically over the last several decades. Marx would argue that no formal group of people (philosophers, economists, government officials) has ever developed a persuasive argument in favor of importing goods from foreign countries. Rather, the idea of producing goods overseas evolved over time because of our trade relationships with other countries and profit margin pressures within a capitalist economy. Mechanical Reproduction and the Loss of Aura The goods that are mass-­‐produced today have lost their aura. In The Work of Art in the Age of Mechanical Reproduction, Walter Benjamin talks extensively about the loss of aura in art. Benjamin proposes that mechanical reproduction made possible the mass distribution of representations of unique works of art that originally derived their “aura” from their specific and singular context. Before the invention of photography, the woodcut was the first means of mass reproducing graphic images. The woodcut was followed by lithography, and the process of image reproduction and dissemination was finally accelerated by photography. With photography, a lens took the place of the hand in order 2 “What is Historical Materialism? A study guide with questions, extracts and suggested reading,” accessed September 17, 2012, http://www.marxist.com/historical-­‐materialism-­‐
study-­‐guide.htm. Esposito 4 to reproduce art. Benjamin states, “For the first time in the process of pictorial reproduction, photography freed the hand of the most important artistic functions which henceforth devolved only upon the eye looking into a lens.”3 What Benjamin describes applies not only to art, but also to other aspects of production and reproduction. With factory assembly line production of goods, the unique nature of the object is gone, and the very idea of authenticity seems irrelevant. For an object to be a copy, it depends upon the presence of an original. The more mechanically reproduced an object is, the further the object is distanced from its original. As Benjamin suggests, “One might generalize by saying: the technique of reproduction detaches the reproduced object from the domain of tradition. By making many reproductions it substitutes a plurality of copies for a unique existence.”4 Along with the loss of authenticity comes a loss of aura. Benjamin describes aura as the distance between oneself and an object. For example, a religious statue experienced in person in a chapel in Italy would possess an aura because of its uniqueness and specific context. However, the advent of mechanical reproduction and the ability to create multiple copies of the same religious icon have created an unlimited and de-­‐contextualized access that results in a lack of aura.5 3 Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction, accessed July 2, 2012, http://www.missconceptions.net/uci/readings/benjamin.pdf. 4 Benjamin, The Work of Art, pg 4. 5 Benjamin, The Work of Art, pg 5. Esposito 5 The Industrial Revolution Prior to the Industrial Revolution in America, utilitarian objects were mostly hand crafted and well made. During the hundred-­‐year period of the Industrial Revolution (1750 – 1850), mechanization allowed goods to be made quickly and distributed to the masses easily. A commonly cited example is the Ford Motor Company and its assembly line production of vehicles. Once again, there was much less involvement of the human hand further stripping away the aura and authenticity of the motor vehicles produced by Ford. Though mechanization brought about a loss of aura and authenticity, the goods produced in America after the Industrial Revolution still contained elements of craftsmanship and pride. However, what little aura and authenticity remained have been stripped with the onset of outsourcing: One of the biggest challenges facing the American economy is that we lack a domestic manufacturing base. Simply put we do not produce anything anymore. We buy tons of foreign goods and then wonder why we are lacking jobs. We import most of our goods which has resulted in a huge trade deficit and industrial job losses. Our economy has transitioned from an agricultural society to an industrial society to a service economy.6 Outsourcing Producing goods overseas and importing them to America has occurred for decades, but there was a dramatic increase in outsourcing beginning in the 1990s.7 In fact, in the last ten years alone, American manufacturing jobs have decreased by over one-­‐third. Economists David Dorn and Gordon Hanson examined the increase in foreign manufacture 6 “U.S. Needs to Return to Its Manufacturing Base,” Seeking Alpha, accessed September 14, 2012, http://seekingalpha.com/article/119136-­‐u-­‐s-­‐needs-­‐to-­‐return-­‐to-­‐its-­‐manufacturing-­‐
base. 7 “Exporting America: An Interview with Lou Dobbs,” Mother Jones, accessed September 14, 2012, http://www.motherjones.com/politics/2005/02/exporting-­‐america-­‐interview-­‐
lou-­‐dobbs. Esposito 6 from 1990 until 2007. They concentrated their study on increased competition from China and found that imports from China increased tenfold during that time period.8 The biggest losses have been in textiles. South Carolina, once known for its large textile industry, has lost jobs to low-­‐wage competitors like China and Cambodia. When examining a dishcloth in my grandmother’s home, she confidently commented, “I’m sure that was made down South somewhere.” In fact, the item had been made in China. These continued losses are not only in textiles, but almost all sectors of manufacturing industry including automobiles, electronics, appliances, and chemicals. Increased labor costs are often to blame, but other factors including health care, taxes, and permits have contributed to the downfall of manufacturing. Manufacturing companies pay far more in taxes than service providers and commodity producers. Moving manufacturing business overseas seemed to provide a way of avoiding taxation.9 10 Policy failure and complex government regulation is another contributing factor to this decline. For example, as wind turbines become more widely used in the production of energy, it would make sense to manufacture them domestically to avoid the expense and logistics of transport. However, the Department of Transportation has not established uniform standards for the transport of wind turbines. Each state has its own regulations, and each time a turbine crosses a state line, it must be unloaded and reloaded to conform to 8 “When (and where) work disappears,” MIT News, accessed September 14, 2012, http://web.mit.edu/newsoffice/2012/manufacturing-­‐overseas-­‐competition-­‐0224.html. 9 “America’s Dirty War Against Manufacturing,” Bloomberg, accessed September 14, 2012, http://www.bloomberg.com/news/2012-­‐01-­‐18/america-­‐s-­‐dirty-­‐war-­‐against-­‐
manufacturing-­‐part-­‐1-­‐carl-­‐pope.html. 10 “When (and where).” Esposito 7 that state’s standards. Because of poor regulations like these, we now import our wind turbines from Europe. 11 The American auto industry has suffered as well. Between 1998 and 2009, auto manufacturing in the United States declined by over 25%. China now produces more automobiles than does America. Increased automated production and foreign competition caused a drop in the workforce, yet labor costs for these companies continue to rise. A combination of union contracts and government policies force American auto companies to continue paying pensions and health benefits to retired workers. With such policies in place, foreign automobiles flood our market and further threaten our own manufacturing base.12 America as Photographic Subject Since the 19th century, America as photographic subject has remained prominent. With his use of a specific shooting style and deliberate sequencing of photographs, Walker Evans set out to show that documentary photography could be complex and artistic. Evans was most interested in American culture, and in 1934 he wrote a letter to a friend proposing an idea to create a picture book of photographs from American cities. He was interested in people from all classes, American urban settings, commerce, and advertising. A brief job with the Farm Security Administration (FSA) from 1935-­‐36 gave Evans the 11 “America’s Dirty War.” 12 “America’s Dirty War.” Esposito 8 opportunity to photograph these subjects. In fact, approximately forty images included in the FSA archive were used in his book, American Photographs.13 The photographs in this book present a wealth of social information—building façades, interiors of houses, and the faces of Americans. The sequencing of images in American Photographs neither follows a chronological timeline nor groups images by geographic location; it is not an obvious order. Instead, the viewer is left to form his or her own meanings.14 The book is loosely divided into two sections. The imagery in part one shows how a variety of perspectives can create a comprehensive point of view. For example, full shots of building façades, lower angle portraits, structures from a distance, and close-­‐ups of window displays collaborate in creating a faceted understanding of place (Fig. 1). Evans switches between large format and 35mm photographs and uses internal, found language (signage, posters, and billboards) along with other visual cues (empty rooms and solemn figures) to form a story of the sad state of American culture during the Great Depression.15 The change in perspective throughout part one shows how Evans’ artistic strategy of sequencing and form paints of picture of Depression-­‐era America. The first few images depict a downward view of Easton, PA and Ossining, NY followed by a more broad view of Bethlehem, PA (Fig. 2). This rise and fall of perspective concludes with the photograph of a fallen tree in front of a Louisiana plantation home (Fig. 3).16 13 Alan Trachtenberg, Reading American Photographs, (New York: Hill and Wang, 1989), 245-­‐248. 14 Trachtenberg, Reading American Photographs, 250-­‐258. 15 Trachtenberg, Reading American Photographs, 259-­‐265. 16 Trachtenberg, Reading American Photographs, 276. Esposito 9 Part two presents a more upbeat view of the nation depicting people and the fruits of their labor. Alan Trachtenberg says, “Part Two serves to recover a world of matter shaped by culture to human use—a fallen world of unredeemed (we might also say alienated) objects scattered in a fragmented landscape,” (Fig. 4).17 Evan’s artistic choices for each photograph are essential in creating a consistent portrait of then contemporary American culture, and his photographs poetically communicate feelings and attitudes.18 In analyzing American Photographs, Lincoln Kirstein suggests: The eye of Evans is open to the visible effects, direct and indirect, of the industrial revolution in America, the replacement by the machine in all its complexities of the work and art once done by individual hands and hearts, the exploitation of men by machinery and machinery by men. He records alike the vulgarization which inevitably results from the widespread multiplication of goods and services, and the naïve creative spirit, imperishable and inherent in the ordinary man.19 Nineteenth century America was a period within which international tastes expanded because of the rise of the middle class. During the 1800s, America copied European Renaissance and Gothic building styles in order to fulfill the bourgeois desires that were not met by practical, colonial architecture. In the twentieth century, Evans photographed the near disappearance of the middle class: structures in decay, cracked cast iron, rust, and crushed Corinthian capitals (Fig. 5). His photographs “exist to testify to the symptoms of waste and selfishness that caused the ruin and to salvage whatever was splendid for the future reference of the survivors.”20 17 Trachtenberg, Reading American Photographs, 277. 18 Lincoln Kirstein, “Photographs of America: Walker Evans,” in American Photographs (New York: Errata Editions, 2008), 193. 19 Kirstein, “Photographs of America.” 194. 20 Kirstein, “Photographs of America.” 195-­‐196. Esposito 10 Overall, Evans provides a clinical view of America. The photographs are not particularly romantic or otherwise seductive by design. Rather, they are “straight” photographs that unflinchingly and objectively depict their subjects and serve as a conceptual critique of the economic challenges of Depression-­‐era America. America Today While quite different from Evans’ work in terms of approach, technique, and pictorial outcome, Made in America is, similarly, an examination of contemporary, economic conditions in the United States. Made in America is a photographic examination of issues such as globalization, politics, and culture as they relate specifically to manufacturing. There are two groups of images: photographs of my grandmother’s home and photographs of my own home. I started looking at the objects in my home and quickly realized that most of them had been made overseas. This began my telling of this contemporary story through the use of photographs. Born in 1927, my grandmother lived her early childhood during the Great Depression represented in many of Evans’ photographs. At a time when much of the population was poor, the sustainability of goods was important, as people could not afford to replace things as easily as they can today. She currently resides in a home in Pennsylvania where she has lived for over forty years. Her home contains many American-­‐
made goods that represent something that is quickly disappearing. With a sewing machine that is over 50 years old, kitchen appliances manufactured decades ago that still run, and furniture that still remains intact, my grandmother’s home contains something that my home lacks; the warmth and stability of well-­‐made goods with provenance. Esposito 11 I am one of the only members of my immediate family to leave Northeastern Pennsylvania. I have moved several times in the last few years and, as a result, have quickly purchased (and subsequently sold or otherwise disposed of) my furniture and other intentionally temporary belongings. My grandmother's house reflects the values that influenced my upbringing: history, creativity, continuity, the value of craft, quality, authenticity, and a sense of how material objects can reflect a sense of belonging. As I examine contemporary America, I see a lack of respect for these values. Made in America originated as a result of my quest to reconcile the dissonance I feel. I illustrate this in photographs of my home that, as a result of my process, contain several decontextualized “floating” objects that are no longer supported by foreign-­‐made furniture or other accessories. This disconcerting disembodiment is seen in only a few of the photographs made in my grandmother’s home, and only if one looks closely. In her home there is a significantly greater sense of grounded connection. In what would become, ironically, a time-­‐ and labor-­‐intensive process, I began in my own home by carefully examining every object in each room. If, for example, I determined that my bookcase had been made in China, I physically removed it from the scene. I then propped up or suspended with fishing line the few, remaining domestically produced goods that had been stored in the bookcase, and I made a photograph. All evidence of propping or suspension was then digitally removed so that these few, remaining American-­‐made goods appear to levitate within the scene. In determining where an object was made, I used its label. Any object that did not have a “Made in America” or an equivalent label was removed. In keeping my working process standard, I used the guidelines provided by the Federal Trade Commission (FTC). Esposito 12 These state that all goods labeled as “Made in America,” “Assembled in America,” or any other similar verbiage must be made up of at least fifty percent American-­‐made materials and that at least fifty percent of the product was manufactured in America.21 This creates the dilemma of some “American-­‐made” goods containing foreign-­‐made parts and vice versa. While this issue is important in this discourse, for this specific project, I chose to look at the object as a whole rather than separating out its component parts. The FTC has separate guidelines for labeling automobiles and textiles. Since textiles appear in my project (Fig. 6), I followed the guidelines established by the FTC’s Textile Fiber Products Identification Act. A textile can be labeled as “Made in the USA” if the final product was “substantially” made in the USA. A textile partially manufactured in the USA and partially in another country must be labeled with both locations of manufacture.22 If an object in my home was not labeled I did extensive research on the brand and retraced it back to the store where it was bought and/or did Internet research to determine its country of origin. The process of examination and physical removal made me hyper-­‐aware of the space in which I live. After removing foreign-­‐made goods, what remained in my home was a barren, interior landscape. The floating objects suggest chaos and disconnect—as if everything is about to collapse. In My house #3 (Fig. 7), the viewer sees the empty space where a bookshelf once stood, the indentations it made in the carpeting, and just a few floating objects that were formerly supported by its shelves. My house #7 (Fig. 8) shows a 21 United States. Federal Trade Commission, Complying with The Made in the USA Standard (Washington: GPO, 1998), Print. 22 United States. Federal Trade Commission, Textile Fiber Products Identification Act (Washington: GPO, 1998), Print. Esposito 13 floating mattress and box spring manufactured in New Jersey, a light bulb, some photographs, and an iron on the windowsill (coincidently given to me by my grandmother). As anticipated, the experience of employing this same process in my grandmother’s home was radically different. Because her home is filled with items that were manufactured in America, very few objects were removed from each interior scene. My grandmother was an important collaborator in this process. She helped me look through her belongings to determine their country of origin or explained the history of an object that was very old. The objects that were removed from most of her rooms are so insignificant that the viewer might not even notice that anything is missing. For example, in Nan’s house #1 (Fig. 9) the only objects removed from the scene were a paper shredder that had been located in the far left corner of the room and candles from the coffee table. What remains is a room that appears warm and stable. Although I anticipated that my grandmother’s home would contain significantly more American-­‐made goods, there were some surprises. My grandmother was disappointed to learn that the porcelain dolls in her bedroom, Nan’s house #6 (Fig. 10), had all been made overseas. In this photograph, the viewer may also notice that three lamps were taken out of the scene, leaving only “floating” light bulbs. This is the most obvious removal in all of the images of my grandmother’s home. An Object’s Origin The origins of an object are important. According to psychologist Paul Bloom, authenticity can be related to economic status, as there are always fewer originals than copies, and originals almost always have more value than copies. However, our Esposito 14 appreciation for originals might also be attributed to our essentialist nature; we respond to things based on our beliefs. We have an attraction to objects based on the histories of those objects. For example, if one loses his or her wedding ring and replaces it with something nearly identical, the history, and therefore the value, of the replacement object would be different. My appreciation of the history of objects in Nan’s house versus those in my own apartment mirrors Bloom’s commentary on the ways in which the history of objects changes our beliefs about them. For example, the sewing machine in my grandmother’s home was a wedding gift from her sister and contains value because of its rich history. My knowledge of this history changes the way I view the sewing machine. In other words, it “occurs” to me differently than it would to someone who had no idea of its history and no connection to my grandmother or my great aunt. The origin and history of many of the objects in Nan’s house and my knowledge of “the story” behind each creates different meaning for me. My own values of authenticity, quality, history, family, and community are reflected in each of the objects. Collectively, Nan’s house and its contents reflect my values. My experience is consistent with Bloom’s contention that we experience objects differently when we know their history. I react strongly to my grandmother’s sewing machine because it is an old, yet very well made machine that still runs today and that dates back to her wedding day. On the other hand, I do not experience these same feelings with most of the objects in my home. Purchased from “big box” chain stores and manufactured in large factories overseas, I view the objects in my home as lacking a specific history; no pride or care went into producing these items. As such, my view of them is already influenced, because they Esposito 15 lack history. These objects do not reflect my values. For example, I value quality and most of the goods in my home will most likely not last long enough to develop the personal patina of many of my grandmother’s belongings. In a sense, the chaos reflected in the images of my home reflects my own internal struggle with living in world that is not reflective of my values. My belongings, other than those given to me by my family, do not have a history. The temporary nature of my mass-­‐produced belongings disallows any sense of authenticity. Aura, outsourcing, and economics can all affect how someone feels about an object, as its origins are important. Conclusion The photographs represented in Made in America offer an intriguing look into change in contemporary America. They can represent anyone’s grandmother’s home or own home, because they represent a broader commentary on how society has changed over the last several decades. With the stark contrast between the interiors of both my grandmother’s home and my home, I challenge the viewer to consider the origin of the objects that surround him/her. My goal is to create an emotional and intellectual experience that will lead the viewer to be more mindful of the origin of objects and to consider authenticity and its implications for our lives. Esposito 16 Works Cited Benjamin, Walter. The Work of Art in the Age of Mechanical Reproduction. Accessed July 2, 2012. http://www.missconceptions.net/uci/readings/benjamin.pdf. Bloom, Paul. “The Origins of Pleasure.” Filmed July 2011. TED video, 16:17. Posted July 2011. http://www.ted.com/talks/paul_bloom_the_origins_of_pleasure.html. Bloomberg. “America’s Dirty War Against Manufacturing.” Accessed September 14, 2012. http://www.bloomberg.com/news/2012-­‐01-­‐18/america-­‐s-­‐dirty-­‐war-­‐against-­‐ manufacturing-­‐part-­‐1-­‐carl-­‐pope.html. Kirstein, Lincoln. “Photographs of America: Walker Evans.” In American Photographs. New York: Errata Editions, 2008. Marx, Karl. A Contribution to the Critique of Political Economy. Chicago: Charles H. Kerr & Company, 1911. MIT News. “When (and where) work disappears.” Accessed September 14, 2012. http://web.mit.edu/newsoffice/2012/manufacturing-­‐overseas-­‐competition-­‐
0224.html. Mother Jones. “Exporting America: An Interview with Lou Dobbs.” Accessed September 14, 2012. http://www.motherjones.com/politics/2005/02/exporting-­‐america-­‐
interview-­‐lou-­‐dobbs. Seeking Alpha. “U.S. Needs to Return to Its Manufacturing Base.” Accessed September 14, 2012. http://seekingalpha.com/article/119136-­‐u-­‐s-­‐needs-­‐to-­‐return-­‐to-­‐its-­‐
manufacturing-­‐base. “What is Historical Materialism? A study guide with questions, extracts and suggested reading.” Accessed September 17, 2012. http://www.marxist.com/historical-­‐
materialism-­‐study-­‐guide.htm. Trachtenberg, Alan. Reading American Photographs. New York: Hill and Wang, 1989. United States. Federal Trade Commission. Complying with The Made in the USA Standard. Washington: GPO, 1998. United States. Federal Trade Commission. Textile Fiber Products Identification Act. Washington: GPO, 1998. Esposito 17 Figures Fig. 1. Walker Evans, Penny Picture Display, Savannah, Georgia, gelatin silver print, 24.5cm x 19.4cm, 1936. Esposito 18 Fig. 2. Walker Evans, Bethlehem Graveyard & Steel Mill, Pennsylvania, gelatin silver print, 8 x 10in., 1935. Esposito 19 Fig. 3. Walker Evans, Louisiana Plantation House, 1935. Esposito 20 Fig. 4. Walker Evans, Roadside Stand near Birmingham, Alabama, gelatin silver print, 19.4 x 24.5cm, 1936. Fig. 5. Walker Evans, Breakfast Room at Belle Grove Plantation, White Chapel, Louisiana, gelatin silver print, 19.4 x 24.5cm, 1935. Esposito 21 Fig. 6. Jolene Esposito, My House #6, archival inkjet print, 19 x 27 in., 2012. Fig. 7. Jolene Esposito, My House #3, archival inkjet print, 27 x 19 in., 2012. Esposito 22 Fig. 8. Jolene Esposito, My House #7, archival inkjet print, 19 x 27 in., 2012. Fig. 9. Jolene Esposito, Nan’s House #1, archival inkjet print, 27 x 19 in., 2012. Fig. 10. Jolene Esposito, Nan’s House #6, archival inkjet print, 27 x 19 in., 2012. Esposito 23 Exhibition Images esposito_jolene01 esposito_jolene02 Esposito 24 esposito_jolene03 esposito_jolene04 Esposito 25 esposito_jolene05 esposito_jolene06 Esposito 26 esposito_jolene07 esposito_jolene08 Esposito 27 esposito_jolene09 esposito_jolene10 Esposito 28 esposito_jolene11 esposito_jolene12 Esposito 29 esposito_jolene13 esposito_jolene14 Esposito 30 esposito_jolene15 Esposito 31 Exhibition Image Inventory esposito_jolene01 Nan’s House #1 19” x 27” Archival Inkjet Print 2012 esposito_jolene02 Nan’s House #2 27” x 19” Archival Inkjet Print 2012 esposito_jolene03 Nan’s House #3 19” x 27” Archival Inkjet Print 2012 esposito_jolene04 Nan’s House #4 27” x 19” Archival Inkjet Print 2012 esposito_jolene05 Nan’s House #5 27” x 19” Archival Inkjet Print 2012 esposito_jolene06 Nan’s House #6 19” x 27” Archival Inkjet Print 2012 esposito_jolene07 Nan’s House #7 19” x 27” Archival Inkjet Print 2012 esposito_jolene08 My House #1 19” x 27” Archival Inkjet Print 2012 esposito_jolene09 My House #2 27” x 19” Archival Inkjet Print 2012 esposito_jolene10 My House #3 27” x 19” Archival Inkjet Print 2012 esposito_jolene11 My House #4 19” x 27” Archival Inkjet Print 2012 esposito_jolene12 My House #5 27” x 19” Archival Inkjet Print 2012 esposito_jolene13 My House #6 19” x 27” Archival Inkjet Print 2012 esposito_jolene14 My House #7 19” x 27” Archival Inkjet Print 2012 esposito_jolene15 My House #8 27” x 19” Archival Inkjet Print 2012