Word: wackerbath
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Where Duncan indulges his subjects. Wackerbath and Duncan challenge theirs, putting them on the couch for photographic psychoanalysis, squeezing sides out of their subjects that they often would rather not provide. Wackerbarth had to surrender the negatives for his portrait of Larry Hagman that looks far cheaper and sinister than J.R. could ever be. The injury behind the photo of the Illinois Nazis is almost as interesting as the picture itself: a deep woodpancled room with the Nazi's arranged defensively in the rear, conspicuously ignoring or suspiciously eyeing the camera...
Duncan, Clarke and Wackerbath are hardly the first to tie together essentially unrelated works with a single object: Rod Serling and his cigar made a career out of it. The only way to transcend cliche is to go for it: modesty is no virtue in conceptual art. Duncan's mediocre ambition appears in every picture, while the overreaching bravado of hauling two red couches in a van for four years is captured in nearly every shot. Inevitably, the quality comes from the men and not the metaphor
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