“An-My Le: Between Two Rivers” Exhibition Reflection

“An-My Le: Between Two Rivers” Exhibition Reflection

An-My Le finds success by hiding her criticism of militarization under the simplicity and tranquility of her photographs entitled “Offload, LCAs (Landing Craft Air Cushioned) and Tank, California” and “Seaman on Bridge Rotation, USS Tortuga, South China Sea”. Each image shows the viewer scenes of the American military, and as the description in the MoMA’s gallery dedicated to her work indicates, it is a point of view on the peacetime activities of the armed forces as they move through the world. The tranquility is misleading, but not so much as to hide a further underlying commentary on the repetitive nature of war and how it shapes identity, whether personal or national.

Each of the two photographs focused on within this paper is encased in glass and surrounded by a white frame that nearly disappears into the white gallery walls. This implies a further reach, a lurking sense of more present in the unclear boundaries of the framed image. They give the impression that they have been staged instead of captured on an off chance. The placement of tanks, ships, and men and their movements captured within the frames are nearly choreographed and give the impression of a director’s eye. It is particularly noticeable in the curved tire tracks and the placement of the ship in the distance of “Offload, LCAs (Landing Craft Air Cushioned) and Tank, California”. The unclear boundaries and capture of a near-endless seeming horizon is almost more notable for the stark interruptions of the landscape by the insertion of military might into the scene. The out of place feeling that it evokes forces a further inspection of the photographs.

This directorial vision (while maintaining a classical approach) is also reflected in the simple but evocative design of the space. The design of the gallery space directs the viewer’s eye by using angled room dividing walls, a funnel that simultaneously attracts attention while hiding some images from view. This creates the feeling of an invitation into the artist’s world which continually redirects the audience towards new aspects of the landscape as they move through the space. Washed out pastels give a vintage appearance to the scenes. Gentle gold sands in the foreground of one and uniformed seamen on a lightly gray deck in the other. Their uniforms could be from today or from the 1940s, which only increases the sense of timelessness. These two photographs were taken in 2006 and 2010 respectively and yet, it’s hard not to be reminded of the celebratory photos of soldiers after the end of WWII. This appeal to vintage coloration implies a further meaning within the work, telling the viewer “nothing has changed” or perhaps “it will keep happening”. A clear commentary on the role of war within American and international cultures.

Both of these images are large format and have a clear sense of placement in relation to each other, though, they lack a clear sense of placement in of themselves. Without the title cards there would be no way to know where or when either image was taken. There is a sense of imitation and falseness in the images, reframing what is current through the coloration and reference to vintage American military photos. By avoiding active military action and instead showing the viewer a “false war” the photographer leaves a void in the scenes for the contemplation of the effects of active warfare. For each, the scene fades into the distance in a murky pale green, reflecting the magnitude of the potential force shown, a peaceable intimidation. These two vast landscapes expand past their borders when one takes the time to look past the peacefulness of the composition.

Originally written February 2024 for Explorations in the Arts at Hunter College. Previously unpublished.