Vitrine
The Vitrine
series (2006 - 2010) was shot in museums in New York and Boston, including Harvard’s Fogg
Art Museum prior to its renovation by Renzo Piano. By folding and layering
space, Dacey confuses the edges between the objects inside vitrines or on the wall, and the institutional context outside that frames them. In Allston’s Revenge, the oil painting
hanging on the wall dissolves beneath the reflection of the Fogg courtyard
superimposed on its vitreous surface. That the neoclassical pillars of the
museum now seem to float on an inky, tossed sea further confounds the solidity
of the architectural space, creating a composite image that fuses outside and
in.
The elitist context of the Fogg Art Museum
frames the meaning of these photographs too: for the very walls and columns
that assert themselves on the picture plane of Allston’s Revenge allude to the boundaries of the museum’s physical
architecture. Walls separate Harvard from the street outside, filtering access
to its resources through mechanisms of entry that have not always been as
egalitarian as they may now be. The question of who is outside, and who is inside haunts this doubled surface and
roiling sea, patterned with windows and arcades that invite entrance, only to
enfold it in darkness.
-Leora Maltz-Leca
Curator, Redwood Contemporary Arts Initiative
Associate Professor, Contemporary Art
History of Art & Visual Culture, RISD