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4:3, color, sound, miniDV, 2012

In Anne, Jessica Bardsley fixes her camera on the tourist encounter as a means of examining how histories get effaced and commodified. In Anne, she observes gleeful tourists interacting with a statuette of Anne Frank, showing the ways in which bodies get scripted and activated when they come into contact with things. Anne’s (literal) concrete presence emphatically foregrounds just how absent she is from the scene. --Beth Capper


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