Встреча с легендой. Форум фотографов.

Sheila Metzner

Volumes Occupying Space, #9, 2004
Fresson Print

Volumes Occupying Space, #13, 2004
Fresson Print

Volumes Occupying Space, #10, 2004
Fresson Print

With primal, unstoppable force, Sheila Metzner continues the creative exploration that has defined her life and earned worldwide recognition.

… The prints are large, made in the gorgeous, muted impressionistic colors of the handcrafted Fresson process, a medium so rare that most know it only through Sheila’s work.

These lay the foundation for an entirely new dimension: a suite of ten images of large-scale installations entitled Volumes Occupying Space.

It seems that Sheila is now formulating her own ‘unified theory,’ that brings all of her diversity into a fundamental metaphor. From our notes of the exhibition, in her own words:

It is very hard work to make a photograph. It often takes days and begins with a word. ‘Construct.’ And then there is light.

A photograph contains life. It is a container which is empty at first and then is full to the brim, to the edge, to four edges. It contains music. All music. All art. It is heavy and dense and radiates color.

That’s enough.

http://www.johnstevenson-gallery.com/me ... /text.html

Встреча с легендой.

Night garden, © 2000

Maggie Taylor — не Jerry Uelsmann

One and a half sisters, © 2003

General Format:
Digital camera and scanner.

How many photographs exist?
Taylor's works are printed in numbered editions limited to 15-20.

Prices: $2,500. – $3,200.

How are the photographs printed and signed?
Maggie Taylor prints her photographs as digital archival piment prints. She signs, titles, and numbers them au recto in pencil on the photograph.

Technical Information:
Maggie Taylor has mastered Adobe Photoshop and uses a digital format camera and a flat bed scanner to create her images.

Vintage:
Her works are composites of scans and photographic images collected at different times. There is not a negative in the sense of traditional photography; the images exist entirely in the computer.

http://www.agallery.com/Pages/photographers/Taylor.html

http://www.maggietaylor.com/

Встреча с легендой.

Maggie Taylor

Wakeful rabbit, © 2007

http://www.maggietaylor.com/gallery/gallery1/index.htm

Встреча с легендой.

Maggie Taylor

Surrounded, © 2004

http://www.maggietaylor.com/gallery/gallery3/index.htm

Встреча с легендой.

Maggie Taylor

Explain yourself! © 2006

A selection of images from Maggie Taylor's Almost Alice to be published in 2008.

http://www.maggietaylor.com/gallery/gallery2/index.htm

Книги:
http://www.maggietaylor.com/books/index.html

Биография и публикации:
http://www.maggietaylor.com/resume/index.html

…she graduated from Yale University with a BA in philosophy. She received an MFA in photography from the University of Florida. For approximately ten years she worked with a camera and film creating still-life images in her studio and garden. In 1996 and 2001 she received State of Florida Individual Artist’s Fellowships. In 1996 Taylor began working digitally, using a scanner in place of a camera. By placing objects directly on the glass top of the scanner she is able to create a unique type of digital image which has some photographic qualities.

Ранние работы и обложки:
http://www.maggietaylor.com/more/index.html

Встреча с легендой.

Встреча с легендой.

Встреча с легендой.

К вопросу о встречах, может быть и не с легендами, но все же.
http://fotonovosti.ru/content/news_one/10/3777

Встреча с легендой.

Алена Качуро

Пару лет назад зацепился взглядом на «Иероглифе» за фамилию Качуро в связи с одним снимком, предпринял некоторые раскопки…

Остался при большой убежденности, но в некотором сомнении все же относительно того, что речь идет о фигуре, известной мне довольно давно. А подумал тогда, что фамилия Kachuro возвращает меня в достаточно любопытное прошлое, в 1995-ый, а, точнее, в период, когда молодые совсем люди, школьники попадали из Гомеля в разные страны и появлялись в том или ином качестве в Сети…

Аленка Качуро, на странице которой был таки легендарный Иван Зрыч Паравозов, что было по статусности примерно равно медали на каком-нибудь фотосалоне, посетил поэтический садик юной леди…

А ведь за весь период ранней истории белорусской части Сети единственного упоминания белорусского проекта Паравозовым сподвигся только ГИС, Андрей Азаров, собственно, с оранжевым и черным дизайном «Финансов». И это была подлинная и заслуженная вещь, а не более поздние мистификации и переписывание/приписывание истории в медвежьем углу Сети.

Алена Качуро чуть позже выступила в качестве соавтора удивительного на те времена проекта Cyber Gomel. Он был не первым, можно вспомнить «Останкино», очень ранний проект, собиравший разъехавшихся по миру минчан), но является долгожителем. Среди различных сетевых инициатив Аленки Качуро он, пожалуй, единственный с таким временем доступности (с 1997-го; остановлен в 2007):

http://gomel.lk.net/cybergomel.html

Тогда, в 1995-м, Аленка Качуро задумывалась о будущем обучении… После 1999-го была специализация в русской литературе в университете в Нью-Йорке (M.A. Russian and Slavic Studies, New York University (2004) и на этот период обучения попадает и заметная сетевая фотографическая активность.

Для меня это еще и два полярных отношения к месту рождения. Скажем, у другого пионера Сети, Маши Школьниковой, которая когда-то жила на Лениском проспекте, автора известного сайта о Высоцком и проекта «Стихия», в какой-то момент даже упоминания Беларуси невозможно было найти, а ведь когда-то жизнеописание было достаточно полным, и даже Маша с рюкзачком в районе Ислочи была видна на снимке вполне отчетливо… Теперь, правда, Минск не забыт:

http://www.russianforever.com/myself/index.html

http://www.russianforever.com/

Насколько я помню, это был у Алены Качуро также период (в районе 2000-го), когда не белорусская виртуальная активность приобретала новые формы (указатель гомельских сетевых ресурсов). Помнится даже что-то вроде магазина белорусских сувениров.

В оффлайне несколько ранее был проект «Молодой Америки» в бумажном варианте… Про второе мало что известно достоверно; Дан Дорфман (легендарная в определенном смысле сетевая фигура, Яков Борохович (Бостон), детство провел в Одессе, но мы-то знаем, что родился он в Гомеле) как-то очень туманно говорил про соавтора этого проекта, да и время давно прошедшее.

Алена как-то откликнулась, можно поискать сообщение в блоге «Все против всех», было такое пионерское начинание здесь, когда понятие «дневник» и «журнал» еще не вошло в массовое сознание, да и блогосфера только начинала делать первые шаги…

Сергей Михаленко недавно обратил внимание на журнал SHOTS: http://forum.znyata.com/viewtopic.php?p=21953#21953 (до 1-го февраля, кстати говоря, можно присылать работы для публикации (платно, недорого), см. также страницу отсылок на проекты авторов, с которыми журнал провел интервью:

http://www.shotsmag.com/interviews.htm

Elena Kachuro-Rosenberg указывает на две публикации — в SHOTS 80 и SHOTS 82 в 2003-м.

Снимки доступны для наблюдения в нескольких виртуальных галереях/изданиях. Хорошая и большая подборка — в журнале 28MM:

28MM.ORG | Issue 010 | "Organic Matter" by Elena Kachuro-Rosenberg

…conception The Organic Matter series examines the elusive, muted and implied features of plant life, its phenomena and rituals. More than merely delectable objects capable of adornment, propagation and other utilitarian applications, plants emerge as articulate and highly individualized entities. In these photographs, I imagine and document that far from passive and stationary, they are, at times, nearly vocal, almost confrontational, occasionally pensive and subdued, often candid and confessional.

As I approach the elements of plant life and observe their form, arrangement, and disposition, I heed to their monologues and ensemble performances, and look for lighting and composition that would enable the leaves, petals, and stalks to narrate or simply muse. Some photographs are a result of weeks of steeping and contemplating the final image, while others are instantaneous revelatory concoctions. Through maneuvering contrast, saturation, light, and toning, I try to emphasize the graphical and expressive nature of the compositions.

Несколько работ, не вошедших в эту подборку, можно посмотреть вот здесь:

Organic Matter
Алёна Качуро
13 августа 2002, 7 фото

http://www.photozilla.ru/gallery/organicmatter/1

Работы из серии o r g a n i c m a t t e r (в большой подборке) — на сайте автора:

http://www.elenarosenberg.com/organic%2 ... atter.html

В другом выпуске 28MM.ORG — Issue 14: Mooning the Afternoon (Frolicking with shadows) как раз имеется работа, на которую я обратил когда-то внимание:

См. специально:

http://www.28mm.org/contributors/galler ... berg14.jpg

Эти работы встречаются в двух подборках на сайте автора:

matter of things
http://www.elenarosenberg.com/matter%20 ... hings.html

scapes
http://www.elenarosenberg.com/scapes/scapes.html

*

См. замороженный (жаль) блог pretty serendipities by elena karo, где имеются очень интересные ссылки на отдельных авторов и на важные ресурсы в Сети:

http://pretty-serendipities.blogspot.com/

Встреча с легендой.

Rose, 1999 © Victor Schrager

Victor Schrager : Botany

Если вы обратили внимание, на блоге http://pretty-serendipities.blogspot.com/ ссылка на серию Botany не работает.

Речь идет вот об этой серии:

Locust, 1999
Nectaroscordum, 2000
Prickly Lemon, 2000
Rose, 1999
Tulip, 1999
Water Lily, 2000

Вся подборка на Edwynn Houk Gallery:

http://www.houkgallery.com/schrager-bot ... ger_1.html

Встреча с легендой.

Mikhail Baryshnikov. Untitled #27, From the Series, Dominican Moves, 2006.
Pigment Prints on Hahnemühle German Etching Paper, 43 x 59 inches, Edition of 5

Попутно: Михаил Барышников в Edwynn Houk Gallery

Годичной давности выставка черно-белых работ Михаила Барышникова Moments in Time в Отделе личных коллекций Государственного музея изобразительных искусств им. А. С. Пушкина в Москве обратила внимание на второе призвание легендарного танцовщика. В связи с выставкой указывалось, что работы Михаила Барышникова получили признание многих известных мастеров художественной фотографии, в числе которых — Ричард Аведон, Арнольд Ньюман, Сергей Берменьев.

«…Фотографией Барышников увлекся 23 года назад нечаянно и бесповоротно. Питерский еще приятель, тоже эмигрант, театральный фотограф Леонид Любяницкий убедил его взять в поездку по Таиланду и Японии маленькую камеру с черно-белой пленкой и напутствовал: "Только взгляни в объектив и нажми на кнопку. Дальше я все сделаю сам"'. Это было начало конца, говорит Барышников: "Я вернул ему 10 пленок, а когда он их отпечатал, — увидел, что некоторые снимки мне нравятся, действительно нравятся!" Барышников тут же отправился в магазин, купил аппарат получше, книги по технике фотографии и много-много черно-белой пленки…»

Весной этого года Edwynn Houk Gallery представила цветную серию работ:

Mikhail Baryshnikov: Dominican Moves

Edwynn Houk Gallery is pleased to announce the first New York exhibition of photographs by Mikhail Baryshnikov. Compiled over a series of extended visits to the island, Dominican Moves yields a sensitive look at Dominican culture and place through dance, “Mikhail Baryshnikov: Dominican Moves” will be on view from 1 March through 31 March.

“In search of the spirit of a people,” Mikhail Baryshnikov’s Dominican Moves investigates the connection between dance and larger notions of national ethos. The Dominicans have amalgamated their rich musical heritage into a range of different dance styles including Son, Bachata, Merengue, and most recently, Reggaeton. In Dominican Moves, Mikhail Baryshnikov strives to capture this national affection for movement. Exploring locations ranging from roadside cafes to exotic dance halls, Mikhail Baryshnikov captures Dominicans in graceful arabesques of light and shadow. With particular attention to the character of movement, “its energy and the space around it,” Dominican Moves catches motion in brilliant casts of iridescent light.

Born in Riga, Latvia in 1948 to Russian parents, Mikhail Baryshnikov first achieved international acclaim as a dancer with the Kirov Ballet, and later as the principal dancer with the American Ballet Theater and the New York City Ballet. Baryshnikov’s introduction to photography was filtered through the constrained lens of Soviet Russia; however by his late teens he was exposed to the more expressive work of Irving Penn, Richard Avedon, Edward Weston, and Henri Cartier-Bresson. In the mid 1980’s, after encouragement from photographer friends, Baryshnikov began to seriously investigate the world through a viewfinder. Incorporating Weston’s sinuous line, and Bresson’s rendering of the moment, Baryshnikov’s Dominican Moves captures the sensuality and profound intimacy of his subjects.

Mikhail Baryshnikov’s photographs have been exhibited in a variety of museums and galleries all over the world including: The Pushkin State Museum of Fine Arts, Moscow; The Latvian National Opera House, Riga; The St. Petersburg History of Photography Museum, St. Petersburg; The Cortona Festival del Sole, Cortona, Spain; The Gallery at the Metropolitan Opera House, New York; The Movado Gallery, New York; The Kennedy Center; Washington D.C. and The Gibbes Museum, Charleston, North Carolina.

.

Untitled #16, 2006
Untitled #10, 2006
Untitled #25, 2006
Untitled #15, 2006,

From the Series Dominican Moves

http://www.houkgallery.com/baryshnikov/ ... ov1-1.html

Более крупные иллюстрации на artnet.com:

Untitled # 23, From the Series, Dominican Moves

См. также на странице J. Johnson Gallery:

Dominican Moves presents a world of movement through a dancer's eyes, the photographer's intimate knowledge of music and dance lend a deeper significance to the images. He captures the sensual energy of the Dominican people, demonstrating proficiency with a refined eye, saturated palette, and graceful arabesques of light.

Mikhail Baryshnikov's photographs more than merely document Dominicans performing the national dance of merengue. Dominican Moves coherently highlights the character of movement, "its energy and the space around it," capturing motion in lyrical lines of light and inspirational flashes of color. Long exposure times obscure identity and emphasize the mood of each locale; high society parties, exotic dance halls and roadside cafes are explored with a startling delicacy. Baryshnikov's sensitivity for the Dominican culture and people, garnered over extended visits to his home on the island, is evident in the insightful, dynamic images that brilliantly convey the Dominicans' "extraordinary spirit which manifests itself through music and dance." The artist eloquently captures a national ethos and observes a culture's response to music with warmth, elegance and spontaneity.

Mikhail Baryshnikov has graciously published a limited edition print, Untitled #32, from the series Dominican Moves. The photograph, published in an edition of 20, is signed by the artist.

Sales of the photograph directly benefit Gilman International Conservation Foundation.

Prints are available for $1,500 each with checks made payable to Gilman International Conservation Foundation.

http://www.jjohnsongallery.com/past/sho ... ryshnikov#

Встреча с легендой.

Louviere + Vanessa. Creatures Figure XVIII, 2007

$300 prize

Atlanta Celebrates Photography (ACP)is a non-profit arts organization dedicated to the cultivation of the photographic arts and the enrichment of the Atlanta art community.

ACP hosts an annual, citywide photography festival in October: the Atlanta Celebrates Photography Festival. The festival includes a wide variety of exhibitions and multiple events around Atlanta and throughout the surrounding communities. The festival's diverse offerings bring together professional and amateur photographers, general art enthusiasts, gallery owners, critics, and collectors.

Лучшая фотография, которая способствует популярности сайта организации, получает награду.

Не знаю, насколько американцы падки на деньги, но, как кажется, если бы этот приз требовал какого-либо напряжения здесь, то остался бы невостребованным. Наша тяга к высокому и чистому искусству так велика, что презренное предложение европейских показов и 5 000 евро в качестве награды сразу сформировало одну из самых непосещаемых тем на форумах Znyata…

Наверное, не только деньги и тотальное процветание проиводят к тому, что перечень событий заштатного фестиваля фотографии занимает почти полтора десятка страниц, среди проводимых выставок имеются показы работ авторов мирового уровня, тем же студентам есть на что посмотреть и есть кому себя показать, если иметь в виду выставки их работ и портфолио-ревю…

http://www.acpinfo.org/?sec=15

http://www.acpinfo.org/2007/resources/P ... e-2007.pdf

http://www.acpinfo.org/2006/resources/P ... _lores.pdf

Портфолио-ревю: http://www.acpinfo.org/?sec=11&sub=8

Louviere + Vanessa

Именно им достался приз. Лауреаты 2006-го — известная пара художников, синтезирующих различные медиа и свои умения в кино, фотографии, живописи, графике…

Chlorofemina, Loup Garou, from the Chloroform Series

They have a long fascination with themes of duality and paradox: beauty as horror, creation as destruction, the personal as universal. Craft and concept are the devices they use to explore the gray zones within those themes. Since they began showing professionally in 2004, their work has been in forty exhibitions and film festivals in America and abroad, and has been published in several books and magazines. They are included in private collections worldwide, the Photomedia Center and the film archive for Globians International Film in Potsdam, Germany, and Microcinema in San Francisco. Six images from the Creature series were recently acquired by the George Eastman House for an exhibit that will travel
internationally through 2010.

In addition to their photography, Louviere + Vanessa continue to experiment in moving pictures. They have created the first movie shot with a plastic Holga camera by meticulously combining 1,900 frames.
Based on that film, they were recently hired to shoot the animation sequence for Rosanne Cash’s latest music video, “Mariners & Musicians,” which had its world premiere at the Tribeca Film Festival.

Jeff Louviere is from New Orleans, and Vanessa S. Brown is from New York. They met each other half-way, in Savannah, where Jeff graduated from the Savannah College of Art and Design. Vanessa began photographing at age twelve and won a Kodak International Award of Excellence in Photography when she was seventeen. She photographed through Italy and Greece before graduating from Rochester Institute of Technology with a degree in Photography. The two live and work in New Orleans.

Встреча с легендой.

Louviere + Vanessa : Chloroform

Chloroform, Superne, 2005, 2007 (print), Edition 2/15, $ 1000

Chloroform, Arcuatim, 2005, 2007 (print), 1 7/8 x 21 3/4, Edition 1/15, $ 1000

Chloroform, Initio, 2005, 2007 (print), 30 x 20, Edition 3/15, $ 1000

Встреча с легендой.

Photography of the Figure… group exhibit showcases photographic interpretations of the figure. All four photographers use some form of alternative process in achieving the final image, from printing on metal to the application of wax layers or painted surfaces.

Above are links to select images from the full show. Included alongside each piece is a biographical notation and information about the work.

Jeff Louviere and Vanessa Brown

Определенная загадка в том, что работы приписываются здесь к другой совсем серии:

http://www.photomediacenter.org/Figures ... iere3.html

From the Creature series

Там же:

Javier Lopez Rotella

"Seres Acotados" Enclosed Beings — the human state

Javier Lopez Rotella is an Argentinean photographer currently residing in Astoria, New York. His sepia toned photographs show groupings of figures in various stages of interaction, oftentimes combined with layers of handwriting and applied sketches or line work. The photographs are adhered to canvas and textured with paint and additional materials. The works in this exhibit come from his Enclosed Beings series, which examines humans who live on the “limits of uncertainty, defined by the social order and the assumptions that are the foundation of this order.”

Lopez-Rotella explains:

“Here, the image gives us a limited report on pure beings who suffer anguish and pain of the worst of modernity: the emptiness.” He records “extraordinary events that flower only once, acquire a transitory existence that never repeats.” The work is full of self-awareness and realization. His
beings beg us to stop merely surviving and “begin life, leaving behind the fear that paralyzes us.”

http://www.photomediacenter.org/Figures ... ehome.html

Встреча с легендой.

Ghost

Louviere+Vanessa: Slumberland in the Photomedia Center

Idle Hands
Cobweb Sweeper

Narrow Escape
Thank the Accident

The Photomedia Center spoke with Louviere + Vanessa to gain additional insights into their current series of work, "Slumberland," and discuss their methodology.

http://www.photomediacenter.org/louvier ... Vhome.html

Встреча с легендой.

Creature, Figure 945 X, 2004, 2007 (print) Edition 2/15

Louviere+Vanessa

Creature, figure 252 (with Mansion), 2004, 2007 (print) Edition 1/15

Creature, Speceres, 2004, 2007 (print) Edition 1/15

Creature, figure 978 XVII, 2004, 2007 (print) Edition 2/15
Creature, Figure 978 I, 2005, 2007 (print) Edition 2/15

Creature, Figure 978, III, 2004, 2007 (print) Edition 2/15
Creature, Figure 945 XVII, 2004, 2007 (print) Edition 2/15

A Gallery for Fine Photography Louviere + Vanessa, As if...

http://www.agallery.com/Pages/departmen ... tions.html

Сайт авторов: http://www.louviereandvanessa.com/swfs/flash.htm

Встреча с легендой.

Раскопки на крупном коллективном блоге New Orleans Photo Alliance

Среди любопытных новостей — объявление о лекции и слайд-презенртации Кейта Картера (Keith Carter):

Интересна и вот такая рефлексия:

Hurricane Story by Jennifer Shaw

Farrington Smith Gallery is excited to present Hurricane Story by Jennifer Shaw- a photo show in conjunction with PhotoNOLA. The show is on view from December 3-29…

In Shaw’s own words:

“I was nine months pregnant and due in less than a week when Hurricane Katrina blew into the Gulf. In the early hours of August 28, 2005 my husband and I loaded up our small truck with two cats, two dogs, several crates containing my favorite negatives, all our important papers and a few changes of clothes. We evacuated to a motel in southern Alabama and tried not to watch the news. Monday, August 29 brought the convergence of two major life changing events; the destruction of New Orleans and the birth of our son. It was two long months and 6000 miles before we were able to return home.”

“Hurricane Story is a depiction of that evacuation experience - the birth, the travels and the return. These photographs represent various elements of our ordeal. The project began as a cathartic way to process some of the lingering anger and anxiety over that bittersweet journey, and grew into a narrative series of self portraits in toys that illustrate both my experiences and emotional state during our time in exile.”

Shaw has self-published a book of her photos, and they will be for sale at the opening…

http://neworleansphotoalliance.blogspot ... chive.html

http://farringtonsmith.com/tag/jennifer-shaw

Встреча с легендой.

New Orleans Photo Alliance

Интересные ссылки к истории фотомонтажа:

http://cnum.cnam.fr/CGI/fpage.cgi?4KY28 ... 00/530/0/0

http://cnum.cnam.fr/CGI/fpage.cgi?4KY28 ... 00/530/0/0

Fotomuseum Winterthur

27.10.2007-10.02.2008

THE STAMP OF FANTASY

The Visual Inventiveness of Photographic Postcards

Press photography, photo books, photographic objects, photographic postcards: the way we look at these many different forms of photography is undergoing a sea change. The exhibition The Stamp of Fantasy takes a look at the postcards that brought photography to the masses, as the precursors of the illustrated press and the illustrated book.
From 1900 onwards, picture postcards enjoyed enormous popularity. In addition to urban scenes and village views, postcard publishers also began issuing more entertaining images: greetings cards and April Fool’s Day cards, illustrations of proverbs, imaginary, witty or even erotic scenes. In designing these visual curiosities, the photographers deployed a wide range of technical devices – montage, double exposure, optical distortion, close-up etc. The exhibition examines the remarkably playful visual approach taken by the postcard industry in the early decades of the twentieth century, and discusses it in the context of the avantgarde photography at that time

The exhibition presents more than 500 postcards in large-scale projections, in showcases and in frames, mostly from the collections of Gérard Lévy and Peter Weiss, as well as selected works by Jean Arp, Johannes Theodor Baargeld, Giacomo Balla, Herbert Bayer, Hans Bellmer, Erwin Blumenfeld, André Breton, Paul Citroën, Salvador Dalí, Marcel Duchamp, Paul Éluard, Max Ernst, Hannah Höch, André Kertész, Gustav Klutsis, El Lissitzky, Dora Maar and many others.

http://www.fotomuseum.ch/THE-STAMP-OF-F ... .html?&L=1

Авторские работы в коллекции музея:

http://www.fotomuseum.ch/index.php?id=302&L=1

Если я все правильно думаю (а это так: http://en.wikipedia.org/wiki/Laurie_Anderson ), то вот это вполне интересно:

* 4 Gelatin-silver prints, each 28 x 29.5 cm
* Collection Fotomuseum Winterthur, acquisition made possible by the "Jedermann Collection" donors' gr

Встреча с легендой.

Ute Noll:

The Canon Profifoto Förderpreis awards concepts for projects which photography students or graduated photographers under the age of 30 would like to realize, such as their final project or independant works. International applications are welcome.

Closing date for the next competition: 09. January 2008.

Please check out the details www.canon-profifoto-foerderpreis.de

http://wiki.znyata.com/PhotographyIllustration?v=nsz

Встреча с легендой.

Sandy Skoglund

Sandy Skoglund’s work has been described as an “antic dream world of ordinary life gone seriously awry.” For example, Hangers is a photograph of a room that looks realistic yet bizarre--pink floor, yellow walls, and all those blue hangers, two-dimensional images repeated on the wall and floor, but becoming three-dimensional objects as one falls into the can of paint, and another rests on the seat of the chair.

Skoglund takes months to set up the room size installations which she furnishes with a few familiar objects, modeled from clay, painted, and repeated, until they overflow the space, like the hangers in this piece or cats in another of her works. This gives the room a Surrealistic dreamlike quality. The final step is photographing the installation with people in it. The difference between the installation and the photograph, which is the real end result of her work, is that the photographs contain people.

Skoglund says her work is based on a Frankensteinian model where the human beings have created a world that is out of control and turns on them.

См. подробно: http://arted.osu.edu/160/22_Skoglund.php

Sandy Skoglund, American, Shimmering Madness, 1998
Jelly beans, wood, plastic, metal, motors
Dayton Art Institute Museum purchase. 2001.34

Sandy Skoglund, Breathing Glass, 2000
Color photograph, (39" x 52 1/2")

http://www.jerseyarts.com/gallery/exhib ... nd_02.html

(там же — биография)

Крупный снимок (зум):

http://www.nelson-atkins.org/art/Collec ... heme=photo

Sandy Skoglund, Fox Games, 1989

Cibachrome color print
Image: 47 x 63 3/4 inches (119.38 x 161.93 cm)
Gift of Hallmark Cards, Inc., 2005.27.170

Еще:

http://www.uky.edu/ArtMuseum/luce/Top50 ... nd_jpg.htm

SANDY SKOGLUND
Walking on Eggshells, 1997
Cibachrome copyright Sandy Skoglund, A/P 1/7
48 1/8 x 60 ¼” (sight)
Purchase: Robert C. May Photography Fund 2002.11

Сайт автора:

http://www.sandyskoglund.com/