Saturday, May 7, 2011

Brenda LaBier: as i remember it…

Brenda LaBier: as i remember it…
Untitled, 2011. © Studio65. Courtesy of the artist
Expanding on as i remember it..., I portray the compounded effects of childhood neglect and abuse through conflicting family constructs. Bringing the interior divergence of emotions to the exterior. 

Brenda LaBier: as i remember it…

Brenda LaBier: as i remember it…
Untitled, 2011. © Studio65. Courtesy of the artist
Expanding on as i remember it..., I portray the compounded effects of childhood neglect and abuse through conflicting family constructs. Bringing the interior divergence of emotions to the exterior. 

Brenda LaBier: as i remember it…

Brenda LaBier: as i remember it…
Untitled, 2011. © Studio65. Courtesy of the artist
Expanding on as i remember it..., I portray the compounded effects of childhood neglect and abuse through conflicting family constructs. Bringing the interior divergence of emotions to the exterior. 

Thursday, May 5, 2011

Ralph Eugene Meatyard

Ralph Eugene Meatyard
Untitled, ca. 1963
Collection of the International Center of Photography, Gift of Mr. and Mrs. Charles Traub, 1980

These staged images are almost literary in their implied narratives, what writer Guy Davenport has called “charming short stories that have never been written.” Although they present strange juxtapositions and embrace accidents, these unsettling pictures are not so much surrealistic as transcendental. With a quiet spiritual force, they suggest the complex emotions associated with childhood intimacy, innocence, loss, and destruction.

Christian Boltanski: Studio


Christian Boltanski

'I began to work as an artist when I began to be an adult, when I understood that my childhood was finished, and was dead. I think we all have somebody who is dead inside of us. A dead child. I remember the Little Christian that is dead inside me.

Wednesday, May 4, 2011

Stanley Spencer


Stanley Spencer, S e l f - P o r t r a i t, 1 9 59 
© Estate of Stanley Spencer 2003. All Rights Reserved, DACS

Stanley Spencer’s work is relevant to all key stages for many commonly studied topics – some of them cross-curricular. Themes that pre-occupied the artist throughout his career and which are also favourites with examiners are: the Self (viewed through events remembered from childhood as well as in the scrutiny of the self-portrait); Landscape, encompassing a sense of place (who better than Stanley Spencer to elucidate what is meant by that phrase?); War; Religion and Sex, and Writing.

Photography in the Age of Electronic Imaging

Digital technology in regards to photography brought on an anxiety about the continuing value of photographic 'truth' and the status of photographic evidence. Ritchen saw the substitution of chemical by electronic processes leading to an increase to photographs being manipulated (318). The initial change like with any change causes concern but throughout photographic history images have been manipulated in various ways to include combination prints, coloring, and re-staging events especially during the civil war. So the truth in photography has always had some flexibility and integral to photography and was often hinged on technology or lack of that spurred photographers to find alternative means to get the shot. The post production manipulation of photographs raised ethical problems for Ritchen as well. He felt strongly about this aspect in regards to photojournalism. Photojournalists are reporting on specific events where the image is recording history, and as the viewer you take it as truth of that moment. So when manipulated by editors or taken out of context from what the photographer wanted to present does cause concern. As stated before that has been acted upon in the beginning during war photos because of lack of technology, but in today's world with all of the devices to document and transfer data I feel there should be more truth. When everything around us is under constant surveillance, reality without edit, info that is broadcasted in multiple mediums, it doesn't seem necessary to manipulate in photojournalism. The distinction between the imaginary and the real. (321)
Assenting to the increasing power and sophistication of new imaging technologies, Robins argues that they are a postmodern form of this older drive to order and control the world through the 'rationalization of vision'. New image technology, like the earlier positivist uses of photography to measure and collect facts about the world, now strives, through imaging the invisible and via simulations built from data to continue this vision. Foe Robins, the real problem is the close association of such drives and discourses with a narrative of technological progress in which the 'new' is always better than the 'old'. This infers that the old is inferior and limited in contrast to the new. This is a concern but only if we forget that photography's role is not only cognitive but is also emotional and aesthetic. 

Monday, April 25, 2011

Brenda LaBier: as i remember it...


Brenda LaBier: as i remember it…
Untitled, 2011. © Studio65. Courtesy of the artist
Expanding on as i remember it..., I portray the compounded effects of childhood neglect and abuse through conflicting family constructs. Bringing the interior divergence of emotions to the exterior. This polaroid is one of few depicting a tumultuous lifestyle at a young age.

Brenda LaBier: as i remember it...


Brenda LaBier: as i remember it…
Untitled, 2011. © Studio65. Courtesy of the artist
Expanding on as i remember it..., I portray the compounded effects of childhood neglect and abuse through conflicting family constructs. Bringing the interior divergence of emotions to the exterior. This polaroid is one of few depicting a tumultuous lifestyle at a young age.

Miroslaw Balka

Miroslaw Balka
51 x 49 x 37,23 x 15 x 11
2000
Steel, glass and, felt
20 x 19 5/16 x 14 5/8 x 5 7/8 x 4 5/16 in. (51 x 49 x 37 x 15 x 11 cm)

Photo: Steve White

Balka’s work deals with both personal and collective memories, especially as they relate to his Catholic upbringing and the collective experience of Poland's fractured history. Through this investigation of domestic memories and public catastrophe, Balka explores how subjective traumas are translated into collective histories and vice versa. His materials are simple, everyday objects and things, but also powerfully resonant of ritual, with hidden memories and history.


This concept is also found in my work as i remember it..., as I deal with the memories of childhood traumas, re-enacted moments with symbolic meaning to expand on "memory work" and the tracing of identity.

Historically, personal pictures are deeply unreliable, but it is in this very unreliability that their interest lies. In making an effort to reread private pictures, there has been a move to revalue the undervalued and to bring into public discourse meanings, which have been concealed in the most secret parts of the private sphere. Photographers and curators (Jo Spence, Val Williams and Marianne Hirsch) are concerned to read history through autobiography.  (Liz Wells, 123)


Wednesday, April 20, 2011

Brenda LaBier: as i remember it...


Brenda LaBier: as i remember it…
Untitled, 2011. © Studio65. Courtesy of the artist
Expanding on as i remember it..., I portray the compounded effects of childhood neglect and abuse through conflicting family constructs. Bringing the interior divergence of emotions to the exterior. This polaroid is one of few depicting the place of these events.

Brenda LaBier: BACK STAGE

Brenda LaBier: BACK STAGE -  Ringo
Untitled, 2011. © Studio65. Courtesy the artist

The highly evocative language of music has exerted powerful influences on individuals and societies alike. To many people in many cultures music is an important part of their way of life and carries with it great impact. BACK STAGE is a collection of music paraphernalia, guitar pics and back stage passes from personal experience working with these artists.  

Brenda LaBier: BACK STAGE

Brenda LaBier: BACK STAGE - Marilyn Manson
Untitled, 2011. © Studio65. Courtesy the artist


The highly evocative language of music has exerted powerful influences on individuals and societies alike. To many people in many cultures music is an important part of their way of life and carries with it great impact. BACK STAGE is a collection of music paraphernalia, guitar pics and back stage passes from personal experience working with these artists.  





Stephanie Sinclair


Stephanie Sinclair, Self-Immolation in Afghanistan: A Cry for Help, 2005. 
Digital print, dimensions variable. 
Collection of the artist; courtesy VII, New York
http://whitney.org/Exhibitions/2010Biennial/StephanieSinclair

This artist's concept reminds me of my own because she is dealing with women's personal history of abuse. The women in these images demonstrate a rare bravery. The representation of their suffering exposes the everyday violence against women that is made more pernicious when it remains hidden. 

Wednesday, April 6, 2011

Brenda LaBier: as i remember it...

Brenda LaBier: as i remember it…
Untitled, 2011. © Studio65. Courtesy of the artist
Expanding on as i remember it..., I portray the compounded effects of childhood neglect and abuse through conflicting family constructs. Bringing the interior divergence of emotions to the exterior. 

Brenda LaBier: as i remember it...

Brenda LaBier: as i remember it…
Untitled, 2011. © Studio65. Courtesy of the artist
Expanding on as i remember it..., I portray the compounded effects of childhood neglect and abuse through conflicting family constructs. Bringing the interior divergence of emotions to the exterior. 

Brenda LaBier: as i remember it...


Brenda LaBier: as i remember it…
Untitled, 2011. © Studio65. Courtesy of the artist
Expanding on as i remember it..., I portray the compounded effects of childhood neglect and abuse through conflicting family constructs. Bringing the interior divergence of emotions to the exterior. 

Yeondoo Jung


Yeondoo Jung, Location # 15, C-print, 154cm x 122cm
http://www.yeondoojung.com/artworks_view_location.php?no=89

from Yeondoo Jung collection

I selected this image from Jung because it relates to the recreation of images with a fine line between memory and fantasy.

Sunday, March 27, 2011

Brenda LaBier: as i remember it...


Brenda LaBier: as i remember it…
Untitled, 2011. © Studio65. Courtesy of the artist


Jo Spence went on to explore her childhood experience within her own photographic work. ...she staged possible family pictures in a dramatic performance of concealed relationships and submerged emotion. The work developed into a practice she described as a form of therapy, working through traumatic moments and reliving the intensities of childhood...(Spence 1987) Chap. 3, page 158.

This image relates to Spence's quote because my work incorporates multi-layered meanings and I combine re-enacted moments with symbolic meaning to expand on "memory work" of childhood traumas and tracing identity. 

Brenda LaBier: as i remember it...





Brenda LaBier: as i remember it…
Untitled, 2011. © Studio65. Courtesy of the artist


As a continuation of as i remember it..., I incorporate multi-layers combining 
re-enacted moments with symbolic meaning to expand on "memory work" of childhood traumas and tracing identity. This image was selected due to its many reads. 

Brenda LaBier: as i remember it...

Brenda LaBier: as i remember it…
Untitled, 2011. © Studio65. Courtesy of the artist


As a continuation of as i remember it..., I incorporate multi-layers combining 
re-enacted moments with symbolic meaning to expand on "memory work" of childhood traumas and tracing identity. The constant struggle portrayed is why I selected this image.

Wednesday, March 9, 2011

Brenda LaBier: as i remember it...



Brenda LaBier: as i remember it…
Untitled, 2011. © Studio65. Courtesy of the artist

Developed for, as i remember it…, I use objects to transfer recalled memories of childhood traumatic events. 

Brenda LaBier: as i remember it...


Brenda LaBier: as i remember it…
Untitled, 2011. © Studio65. Courtesy of the artist

Developed for, as i remember it…, the recollection of childhood memories contains both visual and physical imprints. 

Brenda LaBier: as i remember it...


Brenda LaBier: as i remember it…
Untitled, 2011. © Studio65. Courtesy of the artist

Developed for, as i remember it…, this image recalls a memory of waiting, wondering and not being sure of who I should be, an inner struggle. 

Robert Mapplethorpe


Robert Mapplethorpe, Lisa Lyon, 1980
http://www.mapplethorpe.org/portfolios/female-nudes/


from The Mapplethorpe Foundation


Similar to Dijkstra, Mapplethorpe uses the body and individual but seen as an object of desire rather than classification of a group. Yes, this group of images is specifically female but it does not describe a particular group of women. The subject matter or body focuses more on form rather than content or meaning surrounding the figure. 

Rineke Dijkstra: Park Portraits




Rineke Dijkstra, Parque De La Ciudadela, Barcelona, June 4, 2005
http://www.mariangoodman.com/exhibitions/2007-01-17_rineke-dijkstra/

from Marian Goodman Gallery
17 January - 17 February, 2007

Dijkstra uses the body to speak of a world experience and depicts bodies as social and changeable, transformed by experience. As bodies in transition she is classifying individuals or groups by the outer surfaces of the body. 

Wednesday, March 2, 2011

Brenda LaBier: as i remember it…


Brenda LaBier: as i remember it…
Untitled, 2011. © Studio65. Courtesy of the artist



The work developed for, as i remember it…, acts as a form of therapy, working through traumatic moments and reliving the intensities of childhood. These memories are rarely comfortable, a calm exterior of a turbulent inner experience as the subject matter.

Brenda LaBier: as i remember it…

Brenda LaBier: as i remember it…
Untitled, 2011. © Studio65. Courtesy of the artist


The work developed for, as i remember it…, acts as a form of therapy, working through traumatic moments and reliving the intensities of childhood. These memories are rarely comfortable, a calm exterior of a turbulent inner experience as the subject matter.


Brenda LaBier: as i remember it...


Brenda LaBier: as i remember it…
Untitled, 2011. © Studio65. Courtesy of the artist



The work developed for, as i remember it…, acts as a form of therapy, working through traumatic moments and reliving the intensities of childhood. These memories are rarely comfortable, a calm exterior of a turbulent inner experience as the subject matter.

Shinichi Maruyama: Gardens



Shinichi Maruyama Gardens, Garden #1, 2010
Archival pigment print
37 3/4 x 72 inches
Ed. of 7

from Bruce Silverstein
17 February - 2 April, 2011

I selected this work in regards to the artist's actions of repeatedly throwing liquid into the air and photographing the resulting shapes and sculptural formations. The lighting and uncertain compositions are elegant and rich. 


Christian Boltanski: MONUMENT


Christian Boltanski /MONUMENT, 1986
Mixed media
64 x 54 in. 
The Carol and Arthur Goldberg Collection.
http://www.objectsofdevotionanddesire.com/artists/boltanski.html

from Objects of Devotion and Desire

I was attracted to this because of the artist's use of mixed media and that it addresses ambiguous memories.  

Philip-Lorca diCorcia: ELEVEN


Philip-Lorca diCorcia, W, September 1997, #5, 1997
Archival pigment print
Framed: 39 x 49 inches 
Ed. of 15



from David Zwirner
10 February - 5 March, 2011

I selected this image because it reflects an image that I'm creating in regards to twinning and dualities. 

Friday, February 25, 2011

Massimo Grimaldi: Highlights


Massimo Grimaldi, Surfaces, 2011
Hayley Williams Surface, Farid Surface and Christiano Ronaldo Surface
C-print, magnetic steel, magnets, 78.8 x 39.4", unique
http://www.teamgal.com/exhibitions/188


from team (gallery, inc.)
17 February - 26 March, 2011


I was attracted to these melancholic portraits presented on magnetic steel supports because of there presentation style and the idea of spectatorship. 

Wednesday, February 23, 2011

Lorna Simpson: Gathered



Lorna Simpson (American, b. 1960). Please remind me of who I am, 2009. 50 found photo booth portraits, 50 ink drawings on paper, bronze frames. 2 x 1.5 inches each; overall dimensions variable. © Lorna Simpson, 2009; Collection of Isabelle and Charles Berkovic, Brussels
http://www.brooklynmuseum.org/exhibitions/lorna_simpson/please_remind_me.php


from Brooklyn Museum
28 January – 21 August, 2011





I enjoy the use historical images of unidentified African Americans posing for photo-booth portraits and them being integrated them into a series of multipart pieces. I'm always looking for a way to portray culture. 

Staging Action: Performance in Photography since 1960







Rong Rong. East Village, Beijing, No. 8. 1995. Zhang Huan performs Metal Case, Beijing, June 1995. Gelatin silver prints, 21 3/16 x 14 1/2" each. The Museum of Modern Art, New York. Acquired through the generosity of Peter and Susan MacGill. © 2010 Rong Rong

http://moma.org/visit/calendar/exhibitions/1100


from MOMA
28 January – 9 May, 2011


Foremost I selected this image because it addresses performance in photography but it also appeals to me because although we can not see the entire portrait of this person, it alludes to their character.