STUDIO65: April 2011

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

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

http://www.whitecube.com/artists/balka/v/

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

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.