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Untitled (Marching Soldiers; (Party Foundation Day) Pyongyang, North Korea; October 10, 2015)

Robert Longo
2019
charcoal on mounted paper
87 3/8 x 145 7/8 x 4 3/8 in. (221.933 x 370.523 x 11.113 cm)

At issue in Robert Longo’s work is the fugitive nature of images in the contemporary media landscape. Pivotal events are forgotten as quickly as they are consumed. The fast pace and broad availability of media offers endless new pictures and stories of a politics that can threaten individual humanity through power and aggression. In Untitled (Marching Soldiers; (Party Foundation Day) Pyongyang, North Korea; October 10, 2018), Longo asks the viewer to slow down, indeed, to stop and take in the event. He sources a news image that would usually appear small in a newspaper or online illustrating a story and remakes it at a monumental scale. While the source image is a photograph, Longo uses charcoal to draw in photorealistic detail. Here Longo shows soldiers on display and projected to the world to commemorate the founding of the Communist Party in North Korea. Yet the image applies more widely, echoing a global rise in nationalist rhetoric and totalitarian discourse.

Robert Longo’s works are typically brash and eye catching. He marries the power of photographic and filmic images with large-scale artworks that often escape categorization as strictly painting, sculpture, or media art. As the artist states, “My work exists somewhere between movies and monuments.” Longo explores the importance of images in popular culture and the stereotypical portrayals of the individual’s alienation within a complex society. His aesthetic and conceptual approach came to symbolize the changing landscape of 1980s New York City—with its rapid gentrification, vibrant nightlife, and ascendant stock market.
 
Longo’s images depict violent physicality and psychological angst motivated by an undefined source left to the viewer’s speculation. His most famous series, Men in the Cities, consists of large charcoal and graphite drawings of well-dressed men and women between moments of confinement and release. These works have become metaphors for the success and money-driven “yuppie culture” of the 1980s. Untitled (Men in the Cities: Ellen), 1981, shows a young woman in such a moment of ambiguity, with a full and purposeful gesture yet unmoored to any definition beyond her stylish heels, proper blouse, and designer skirt.
 
Longo’s drawings gradually became larger and more ambitious and included many types of media, such as his cast aluminum relief sculptures. In Tongue to the Heart, 1984, a central lead-panel relief features an imposing, empty corridor. To its left a slightly smaller-than-life-size sculptural figure clamps his hands to his ears as if experiencing agony; to its right eyes in a large, red, mask shape stare out and up, floating disembodied on a black ground; and below yellow waves crash. Here, Longo presents a psychological scene of imprisonment and anxiety that hints at an unattainable, constantly threatened transcendence.