For the month of March, Allison Beondé is offering a selection of prints from this work with 100% of the proceeds to benefit the New Orleans Family Justice Center. All of the prints are signed, printed by the artist, and available on a sliding scale, making them affordable to anyone who would like to contribute.
Allison Beondé's motivations for this donation are personal, as she was assaulted by a photographer she was meant to show with, and the results of speaking up sheds light on victim-blaming and sexism that is still prevalent in the photography industry. I hope you'll join Beondé in raising funds this month to support victims of sexual assault, abuse, and domestic violence. To read more about Beondé's story and the available prints from 1947, Roswell, click HERE.
Onto the work.
My practice utilizes imagery to explore the way that phenomena and fable help shape our cultural consciousness, as it relates to notions of truth and transparency. While my projects don’t all fit into the same modes of making, they do share these common themes. In thinking about the stories I’m drawn to, they often are small mythologies that act as microcosms for larger national and global issues.
My project, 1947, Roswell, investigates the famous history of the Roswell UFO incident. In taking on such a project, I knew that I wasn’t interested in the quirky, cosmic, or outlandish, but rather in the intimate narrative that supposedly played out after two young lovers encountered the crash. My images loosely trace their story, through the crash, the investigation, and the months following. In looking at this small section of a story that is deeply engrained in our cultural consciousness, I was able to explore the parts that still feel so relevant today – the way that the government withholds information, and the skepticism that was bred and continues to live between the government and the public. By subtlety implying notions of our mid-century Americana wholesomeness – such as the cops and donuts reference, which doubles as a reference to the aesthetics of flying saucers – I’m aiming to create skepticism about our notions of what is true, and the trust that we instill in images by exposing the photograph as not just a documentation, but also a falsification.
Allison Beondé is a visual artist living in New Orleans, LA. She holds her BFA from the School of the Museum of Fine Arts, Boston, in partnership with Tufts University. She has received a Traveling Fellowship through the Museum of Fine Arts, Boston, a Light Work Grant, an Artist Grant through The Canary Lab at Syracuse University, and was a recent fellow at the Constance Saltonstall Foundation for the Arts. She is currently an MFA candidate at Tulane University. You can view more of her work here.