Beyond the Fence Series: Brenda LaBier

Beyond the Fence Series: Brenda LaBier

Untitled, 2010. © Studio65. Courtesy the artist

http://workingwithartists.org/flash_gallery.php

from Flash Gallery 

21 January 2011 - 6 March 2011

I chose this image from the Beyond the Fence series because visually I’m drawn to the collection of items left behind. These images define a place and people through objects. 

Beyond the Fence Series: Brenda LaBier

Beyond the Fence Series: Brenda LaBier

Untitled, 2010. © Studio65. Courtesy the artist
http://workingwithartists.org/flash_gallery.php


from Flash Gallery 
21 January 2011 - 6 March 2011

Beyond the Fence explores the characteristics of a transitional neighborhood through the objects left behind. The photographs tell a story of what lies in between and in wait behind the fences. I chose this image because I’m inspired by the camera's ability to penetrate the obscure and hidden.

Constraint Series: Brenda LaBIer

Constraint Series: Brenda LaBier

Untitled, 2010. © Studio65. Courtesy the artist
http://www.cameraobscuragallery.com

from Camera Obscura
10 December 2010 - 5 February 2011

Often working with self-portraiture, I explore the themes of feminism and gender politics. Investigating the realm of identities, my photographs address the expectations, mixed messages and stereotypes of women through social constructs. I chose this image because of its simplicity and reflective meaning. 

Wang Qingsong: When Worlds Collide

Wang Qingsong, Competition, 2004. © Wang Qingsong. Courtesy the artist 
http://www.icp.org/museum/exhibitions/wang-qingsong-when-worlds-collide


from International Center of Photography
21 January 2011 - 8 May 2011


I was initially attracted to this image because of multiples and because of the artist's use of staging and building an environment on a large scale. His large-scale color photographs combine references to classic Chinese art with ironic nods to China's new material wealth and rapidly growing consumer culture.

EXPOSED Voyeurism, Surveillance, and the Camera Since 1870

Harry Callahan,  Atlanta, 1984; dye transfer print; Collection SFMOMA, San Francisco Museum of Modern Art, Accessions Committee Fund purchase; © Estate of Harry Callahan
http://www.sfmoma.org/exhibitions/408

from San Francisco MOMA
30 October 2010 - 17 April 2011


I selected this image because its composition and subject matter is similar to my personal work. Investigating the shifting boundaries between seeing and spying, the private act and the public image.

The Unilever Series: Ai Weiwei

The Unilever Series: Ai Weiwei. 
Sunflower Seeds, 2010. 
Photo credit: Tate Photography

© Ai Weiwei

http://www.tate.org.uk/modern/exhibitions/unileverseries2010/default.shtm


from Tate Modern
The Unilever Series: Ai Weiwei
12 October 2010 - 2 May 2011


I selected this image from the Tate Modern because I'm attracted to multiples, repetition and patterns as well as how artists' relate their artwork to their culture. Sunflower Seeds is made up of millions of small works, each apparently identical, but actually unique and hand-crafted in porcelain.