victoria crayhon

Photographer
Far East
Location: Providence, RI
Nationality: American
Biography: Victoria Crayhon BIO 2014   Victoria Crayhon is based in Providence, RI, USA. BFA  Photography 1994 Tisch School of the Arts, New York University, NY, NY. MFA Photography 1997 Rhode Island School of Design, Providence, RI.   Ms.... MORE
Public Story
Far East
Copyright victoria crayhon 2024
Updated Dec 2012
Topics Architecture, Arts, Far East, Globalization, Khabarovsk, Photography, Politics, Portraiture, Russian Federation, Trans-Siberian Railroad, Vladivostok

This project began as an examination of the adaptation to capitalism and consumer culture by the Far

Eastern region of Russia and how it is faring within the complex global economic picture of

the early 21st century.

I began working on this project in early 2011 in and around Vladivostok, the capital and

largest city of the Primorskiy Krai region, approximately four thousand miles east of Moscow,

home of the Russian Pacific fleet, the terminus of the Trans-Siberian Railroad, and for most of

the 20th century, totally closed off not only to foreigners but to other Russians as well.

I became particularly interested in the Far East because it is entirely less affected by Europe

and the West (as is western Russia) and is significantly more influenced and dependent upon

itself and other countries within Asia. It is therefore socially, economically, ethnically as well

as geographically different and perhaps slated for a very different future than the rest of

Russia. There is a unique and distinct identity here in spite of the fact that there is a complex

ethnic make-up. This creates an interestingly modern dynamic as well as a certain degree of

tension. There is an explicit tension with China, Korea and Japan, all of whom maintain a

strong presence in the realm of consumption: as business owners, producers of goods and

services, students and tourists, legal and illegal immigrants. This is particularly true

with China as a huge percentage of everyday consumer goods purchased by

Russians are imported from China.

My previous work and projects investigate the effect of consumer culture upon the human

psyche. I was therefore drawn to Russia where for most of the 20th century there was

a nonexistent and/or suppressed culture of commercialism as shaper of identity, desire and

security. There certainly was a culture of propaganda, which perhaps worked in similar ways

to advertising and I am curious in comparing the residual effects. 

My interest in Russia has been lifelong for a few more personal reasons: I was born in the

United States in the mid 1960s and Russia was still the unquestioned “ Evil Empire” to my

generation of Americans. I grew up with the threat of “nuclear annihilation by the Russians”

as our particular contemporary phobia.

Personally, upon reflection, it seemed to me that I did not perceive Russia to be an enemy at all; to a large extent it was

as though it functioned within the media as a point of comparison and vehicle for self-regard

by Americans. “They” were the opposite of “Us”. But I distinctly

remember an intense American interest in all things Russian: art, technology, sports teams

and athletes, weapons, rockets and astronauts, scientists, technology and industry, ballet

dancers, spies, KGB, and so on. With all of this they were not simply our official competitors,

they were a kind of mirror to Americans and had a great deal of influence upon how we saw

ourselves. They made us both insecure and vainglorious.

I think that the USA and Russia both attach, still, the greatest of importance to how we are

perceived by each other as well as our promotion of ourselves as individual examples to the

rest of the world.

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