Photo Exhibit Critique

Christopher Rogy
Media Practices: Concepts (Documentary Focus)
Critique of Photo Exhibition: “Hurry Up & Wait”

Tibble and Mancenido have illustrated a mildly politicized, yet chic and contemplative look at America’s trucking and transportation industry. The two spent one year on the road documenting the trucking subculture and atmosphere. The images - combined with a current economic crisis – elucidate the trucking industry’s dependency on oil, while calling into question this industry that supports all other industries. Other images attach the trucking subculture to ideas of loneliness and alienation, while at the same time reflecting the loneliness and alienation of a current economic crisis; the sentiment bordering desperation.

One piece entitled ‘MotoMart, Perryville, MO, 2008’ depicts a gas station island, with pumps and awning. The picture utilizes elements of chiaroscuro lighting reminiscent of Rembrandt. The island is self-illuminated while the background remains dark and abysmal. The station seems to speak only to itself amongst a vacant world. In this way, the island idealizes itself and proclaims its importance. Yet, juxtaposed against the theme of alienation (perhaps tending toward desperation), the viewer senses a paradoxical notion here. Why do I still use gasoline when it only has itself to praise?

Another image, called ‘Empty, 2008’, echoes these sentiments. The view is from the back-end of a freight truck into the cargo element. Of course, the vessel is vacant in continuing with this theme of alienation and loneliness. The lack of any object screams emptiness and bankruptcy, while flat lighting adds to the sensation of objectless-ness.

“Oil Spill, Gary, IN, 2008” captures the residue of oil on asphalt in an attempt to illustrate the Industry’s environmental ails. Given the subject matter, viewers can only assume this was the result of an everyday trucking experience, whereby oil has most likely leaked from the tank or at the pump. Interestingly, the muted hues alternate in an almost prism-like way around the asphalt that is without any saturation.

Lastly, “Warning Triangles, Carlisle, PA, 2008” is an image taken road-side at night. The light, seemingly produced from a truck’s headlights create an eerie sensation as in most low-key/ cameo lighting situations. However, because this image is at night, the long cast shadows that emanate from the triangles onto the asphalt speak of ominous danger, perhaps linking the direct dangers of driving and a dependency on oil and trucking.

Overall, the exhibition is quite seamless, hitching issues and aesthetics of trucking subculture to issues and aesthetics of the trucking industry’s dependency on oil, and a nation’s economic crisis. The images synthesize into a cohesive piece that sticks, has voice and makes a statement while maintaining style and imagery.