The Re Mediation Of Media In The Fae Richards Photo Archive

The (re)mediation of Media in the Fae Richards Photo Archive

The Fae Richards Photo Archive (1993-1996) by Zoe Leonard was originally made as "source material" for Cheryl Dunye's 1996 film The Watermelon Woman, but has since been exhibited as a standalone artwork in over 14 exhibitions. The film chronicles the making of a documentary on the fictional character Fae Richards, an African-American, lesbian performer who played "mammy" or maid roles in popular films in the 1930s, and starred in black-cast race films in the 1940s. Leonard's photographs "authenticate" Fae Richards, lending credence and facticity to the character created by Dunye by illustrating her personal and professional life through photographs. In this thesis, I argue that the Archive is an important early example of archive as art that draws attention to the failings of the institutional archive of record to store and transmit information about people. I examine the remediation, or "representation of one medium in another" of the Archive across the frameworks of film and exhibition, embedded as each medium is in a set of "material social practices." By first establishing a historically plausible visual record, then revealing the Archive as a fiction, Leonard critiques the archive as an authentic and necessary receptacle of knowledge, and analog photography as its privileged medium. Thus, the Archive does not try to retroactively fill in the gaps of a partial history, but instead reveals how history itself is constructed through specific uses of media.

Red, White & Royal Blue

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