The Ballad of Reversals: Ephemeral Images of Ephemeral Art

From seminal art performances and exhibitions to birthday celebrations at the office, the history of Franklin Furnace was largely captured and preserved on a now obsolete medium called “reversal film,” commonly known as “slide film.” Due to this film’s high quality and ability to create positive images that don’t require darkroom printing processes to see, 35mm color reversal film became widely popular in the second half of the 20th century, especially as a documentary tool used by amateurs and professionals alike. From the 1960s through the early 2000s, artists, particularly those whose practices were conceptual and ephemeral in nature, used reversal film to document and exhibit their work in all media.

The reversal films at Franklin Furnace are stored in archival boxes within a climate-controlled room to ensure their long-term preservation. For images captured on film, exposure to light is both what creates them and the source of their deterioration. This is the case for all photographic transparencies, but it is particularly true for reversal film, which is designed to be exposed to light every time it is viewed. Color fading in reversal films occurs with even slight exposure to light, even over a short period of time. In this sense, reversal film is a paradoxical medium for documentation — preserving ephemeral moments while subject to its own ephemerality.

Today, the reversal film in Franklin Furnace’s Event Archives is digitized and cataloged in a digital database. The digitized images are color-corrected and, unlike the images on the original reversal films, will not fade over time. They are infinitely more ‘shareable’ than slides on a projector — a key feature contributing to the popularity of reversal film back in the day.

Over the past two decades reversal film has lost its vitality as a means of documentation and so our understanding of the medium has shifted. Reversal film now has its own history as archival material, deepening its relationship to the past and to those who make the effort to preserve the medium. While digital photography continues to perfect its formless optical potential, reversal films remain in the physical world, where all the interesting things worth photographing occur.

Tsubasa Berg & Harley Spiller, co-curators

The accompanying panel discussion, from 5-6 pm et on February 10th, presented exhibition co-curator Tsubasa Berg, conversing on the topic with photographers Barbara Nitke and Marty Heitner, and Harley Spiller, Ken Dewey Director of Franklin Furnace and co-curator of the exhibition. The panelists, all colleagues and friends of Michael Katchen, Franklin Furnace’s Senior Archivist and photography expert, who worked steadily for the organization from his first day as a university student intern in 1980 until his death in February 2023, also discussed Michael’s career and legacy, and responded to comments and questions from audience members.

For the press release of the panel event, please visit here.

Video documentation of the February 10th, 5-6pm ET event of The Ballad of Reversals: Ephemeral Images of Ephemeral Art. Recorded on Zoom, edited by Xinan Ran

About the panelists

Tsubasa Berg, Photographic Digitization Specialist, has worked with Franklin Furnace since 2021. He is an artist/photographer based in Brooklyn, New York.

Barbara Nitke is a New York photographer and educator best known for her intimate and compassionate work in the alternative sex world. Long a champion of the LGBTQ+, kink and sex worker communities, she lives and works in Harlem. 

Marty Heitner is an artist and professional photographer who has created photographic documentation of Franklin Furnace art events since the early 1980s. His work has been published in The New York Times and he lives and works in Brooklyn and Greenport, New York. 

Harley Spiller, Ken Dewey Director, is a lifelong New Yorker who started working for Franklin Furnace in 1986. He is an artist, collector, educator, and author of Keep the Change: A Collector’s Tales of Lucky Pennies, Counterfeit C-Notes, and Other Curious Currency (Princeton Architectural Press 2015).

Documentation of artwork by the following Franklin Furnace artist alumns is on view:

Alba Sanchez
Alex Mavro
Alison Knowles
Alvin Eng
Alyson Pou
Annie Lanzillotto
Angelika Wanke-Festa
Barbara Hammer
Blue Man Group (Chris Wink, Matt Goldman, Phil Stanton)
Bob Sikoryak
Brigid Murphy
Carnival Knowledge
Caroline Sykora
Cathy Simmons
Cheri Gaulke
Chris Kraus
Christine Papalexis
Sonia Knox
Dan Kwong
Debbie Moore
Deborah Edmeades
Dee Dee Russell
Dominique Dibbell
Elise Kermani
Eliza Schwarz
Eric Bogosian
Estelle Eichenberger
Frank Moore
Fred Holland
Gearoid Dolan
Gitta Gsell
Giuditta Tornetta
Harold Olejarz
Harley Spiller
Harry Kipper
Jim Sutcliffe
Joan Jonas
Joel Reynolds
Jones Twins
Judith Jackson
Julie Laffin
Julio Morales
Kevin Carter… et al
Koo Dance
Kriota Willberg
Kristen Stiles
Kugla
Layne Redmond
Lorraine O’Grady
Maciej Toporowicz
Margaret Nelson
Mary Beth Edelson
Maurya Wickstown
Michael Montgomery
Mineo Aayamaguchi
Nigel Rolfe
Patricia Winter
Peggy Shaw & Lois Weaver
Philip Brown
Pope.L
Ralph Wolf
Rebecca Moore
Rose English
Sheelah Murphy
Sherman Fleming
Susanne Grossberg
Tari Ito
Ted Weiss
Thomas Churm
Thought Music (Laurie Carlos, Jessica Hagedorn, Robbie McCauley)
Timothy North
V-Girls
Yoshiko Chuma & School of Hard Knocks
Zone West
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Live at the Library IX is presented with funding from The New York City Department of Cultural Affairs; The New York State Council on the Arts, with the support of the Office of the Governor and the New York State Legislature; Pratt Institute Libraries; The Silicon Valley Community Foundation; and the Board of Directors, members, and friends of Franklin Furnace. Special thanks for exhibition assistance to Russell Abell, Chris Arabadjis, John Chin, Allen Frame, Marty Heitner, Fang Yu Liu, Barbara Nitke, John O’Toole, Xinan Helen Ran, Jlynn Rose, Nicole Rosengurt, Micki Spiller, Rohan Subramaniam, Suzanne Varni, Martha Wilson, and Adam Yehya.