Full Bleed presents excerpts from Adam Milner’s obsessive collections of images pulled from thousands of magazines. Through the act of isolating, cropping, masking and arranging, Milner’s personal archives reveal new connections through seemingly ordinary images one might otherwise flip by in a magazine or overhear in a pop song. These images are not merely hacked or ripped from media publications, but rather, painstakingly cut with a sharp razor blade or delicately outlined in a custom color.
Categories emerge such as belly buttons, men thinking, confetti, and petals, which reveal an idiosyncratic look at mass media and printed matter. Milner refers to his process as an analogue search engine. By automating himself, the role of the body becomes subtly present through his imperfectly cut and painted images. Audio works like Baby Archive and Ohh Archive, where musical tropes have been collected from pop songs, reveal another way of isolating and collecting from popular culture.
There is a tenderness that separates Milner’s work from a library or a simple collection of images. This warmth is revealed in the context of how Milner’s archives interact with themselves, be it a scattering of belly buttons or a video of the artist designing his own grave. Full Bleed leaves interpretation not only up to the archivist but the viewers themselves by presenting imagery that feels both foreign and familiar.
Read the accompanying essay Brother Son Boyfriend Baby.
On view: October 5 – December 3, 2017
Union Hall 2216 Penn Ave, Pittsburgh, PA 15222