When understood through the framework of Flusser’s “technical images,” the act of curation is not simply the recollection or depiction of object. Curation can instead be read through a peculiar hallucinatory power that conveys the specific intentions and ambitions of the curator.

 

Beginning with Margaret Bourke-White’s Fort Peck Dam (1936) and Sally Mann’s #1 Scarred Tree (1998), Capalbo focuses on the form and gesture of the algorithmically collected images to inform the compositional strategy of these plates. This non-content approach creates new realities and relationships across the curated images to totally reconstruct the spatial interpretation originally intended from each of the images as standalone representations.