Joan Didion once famously remarked on how we are formed by the landscape we grew up in – and never has its impact been more evident than in Prager’s oeuvre., the title of both her upcoming retrospective at the Photographers’ Gallery and corresponding first monograph, originates from a road five minutes from where she was born. She still lives nearby, and the area is the stage for the majority of her film and photographic work.
“Everything about the city informs the approach, from the cultural history to the physical locations and unique light. The vintage props and costumes we rent from the movie studios, the people I find in the casting agencies, it’s all about this layering” – Alex Prager The exhibition marks a decade of her practice, presenting 40 photographs and her complete set of film work – a major milestone for the self-taught artist. Her interest in photography was born out of a visceral reaction she had to an exhibition by William Eggleston at the Getty Museum, she says: “It was such an overwhelming moment for me; I was struck blind by vision. Before that I had all this energy but I was using it all in going out, travelling, paying way too much for clothes and sushi.
“I love the concept of familiarity because it gives us this false sense of security. The past always seems nicer than the present, but who fucking knows what it was like back then” – Alex Prager, she takes her distinctly American lens to the Paris Ballet. The prima ballerina, played by Émilie Cozette, takes the stage at the Opéra Bastille and begins to dance an adaptation of Benjamin Millepied’s piece.
AlexPrager She’s a Scientologist and a fraud.
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