SANDY SKOGLUND B. 1946 Weymouth, MA Lives and Works in Jersey City, NJ

Total Page:16

File Type:pdf, Size:1020Kb

SANDY SKOGLUND B. 1946 Weymouth, MA Lives and Works in Jersey City, NJ SANDY SKOGLUND b. 1946 Weymouth, MA Lives and works in Jersey City, NJ Education 1964-68 Smith College, Northampton, MA 1969-72 M.A. and M.F.A. University of Iowa, Iowa City, IA Selected Solo Exhibitions 2020 Winter, RYAN LEE, New York, NY, US 2019 Sandy Skoglund. Hybrid Visions, curated by Germano Celant, CAMERA - Centro Italiano per la Fotografia, Turin, Italy 2017 Food Still Lifes, RYAN LEE, New York, NY, US 2016 Hangers, RLWindow, RYAN LEE, New York, NY, US 2015 Sandy Skoglund: The Unpublished Works, Paci Contemporary S.r.l, Brescia, Italy 2014 Sandy Skoglund Unusually Familiar, curated by Valeria Nicolis, Ooh Gallery San Fermo Maggiore, Verona, Italy 2013 Westside Cultural Arts Center, Atlanta, GA, US Sandy Skoglund, University of Denver, Denver, CO, US 2012 Eyeflakes and The Invented World, Rule Gallery, Denver, CO, US Winter: work in progress, Paci Contemporary, Brescia, Italy 2011 ARTMATTERS 14, Sandy Skoglund: The Cocktail Party, McNay Museum of Art, San Antonio, TX, US 2010 Dreams and Visions, interview by Arash Hoda, WNET The Power of the Imagination, Lucca Digital Photography Festival, LDPF The Artificial Mirror, survey of works by Sandy Skoglund, Fotografiska Museum, Stockholm, Sweden Sandy Skoglund Survey of photographs, Mjellby Museum, Halmstad, Sweden Breathing Glass permanent acquisition and installation, Lowe Art Museum, Miami, FL, US 2009 The Artificial Mirror: Sandy Skoglund Survey of work since 1974, Palazzo Giovanelli, Venice, Italy Center and Archive of Photography (CRAF), Regione Fruili Venezia Giulia, 22nd festival of Photography, Milan, Italy 2008 Sandy Skoglund: Magic Time, Galleria Paciarte Arte Contemporanea, Brescia, Italy Sandy Skoglund: True Fiction Two, Betta Frigieri Arte Contemporanea, Modena, Italy Fox Games indefinite installation, Liebeskind building, Denver Art Museum, Denver, CO, US 2007 Survey of photographs 1978-2007, Gallery Kong, Seoul, Korea Solo exhibition with installation of Breathing Glass, University of Saint Francis, Weatherhead Gallery, Fort Wayne, IN, US 2005 Galerie Rabouan Moussion, Paris, France Guy Bartschi Gallery, Geneva, Switzerland Fay Gold Gallery, Atlanta, GA, US Sandy Skoglund, installations Raining Popcorn and Breathing Glass, New Jersey Center for the Visual Arts, Summit, NJ, US 2004 The Tree of Trees, permanent installation, The New York Hall of Science, New York, NY, US Uncommon Lives, Rockford College, Rockford, IL, US Enchanting the Real, with installation of Picnic on Wine, curated by Sarah Tanguy, Copia, The American Center for Wine, Food, and the Arts, Napa, CA, US Breathing Glass and Raining Popcorn installations, Museum of Glass, International Center for Contemporary Art, Tacoma, WA, US 2003 Breathing Glass installation, Palm Springs Desert Museum, Palm Springs, CA, US Breathing Glass installation, Center for Visual Art, Denver, CO, US 2002 Rule Galley, Denver CO, US Shimmering Madness, Dayton Art Institute, Dayton, OH, US Walking on Eggshells installation, B & D Gallery, Milan, Italy Raining Popcorn installation, Cornell University, Johnson Museum of Art, Ithaca, NY, US Breathing Glass installation, Hunter Museum, Chattanooga, TN, US Breathing Glass installation, Memorial Art Gallery, Rochester, NY, US 2001 Raining Popcorn installation, Jane Borden Gallery, Inc., New York, NY, US Raining Popcorn installation and commissioned photograph, Faulconer Gallery of Grinnell College, Grinnell, IA, US Liquid Origins, Fluid Dreams: bathroom interior permanent installation, Smith College Museum of Art, Northampton, MA, US Shimmering Madness, Contemporary Masters Series, Bergen Hall Gallery, Savannah College of Art and Design, Savannah, GA, US 2000 Breathing Glass installation and commissioned photograph, Museum of Contemporary Arts and Design, New York, NY, US Breathing Glass installation, Fay Gold Gallery, Atlanta, GA, US Guy Bartschi Gallery, Geneva, Switzerland Exhibition of photographs curated by Maurizio Sciaccaluga, Museo d’arte della Provincia di Nuoro, Sardinia, Italy Installation of the Cocktail Party, Walking on Eggshells, and Shimmering Madness with photographic survey, Norton Museum, West Palm Beach, FL, US Indiana State University Art Gallery, Terre Haute, IN, US 1999 Misbehaving: Works from the Studio of Sandy Skoglund, Wayne State University, Elaine J. Jacob Gallery, Detroit, MI, US Selected Works, Kendall College Art Gallery, Grand Rapids, MI, US Reality Under Siege, The Joslyn Art Museum, Omaha, NE, US Reality Under Siege, Toledo Museum of Art, Toledo, OH, US Shimmering Madness permanent installation, The Liberty Museum, Philadelphia, PA, US Shimmering Madness installation, Fay Gold Gallery, Atlanta, GA, US Shimmering Madness installation, Janet Borden, Inc., New York, NY, US 1998 Reality Under Siege, Columbia Museum of Art, Columbia, SC, US Sandy Skoglund: Selected Works, Rollins College, Winter Park, FL, US Shimmering Madness installation, Rutgers University Robeson Gallery, Newark, NJ, US Reality Under Siege, installations of The Cocktail Party, Revenge of the Goldfish, Fox Games, and Walking on Eggshells, Smith College Museum of Art, Northampton, MA, US 1995 The Green House installation, photographs and sculpture from In the Last Hour, Huntington Museum of Art, Huntington, WV, US The Subject of Food, Ehlers Caudill Gallery, Ltd., Chicago, IL, US The Cocktail Part installation photographs and sculpture from In the Last Hour, Scottsdale Center for the Arts, Scottsdale, AZ, US Photographs and works from In the Last Hour, Museum of South Texas, Corpus Christi, TX, US Sandy Skoglund retrospective, Museumsverein Arolsen, Arolsen, Germany Photographs, Galeria Spectrum, Zaragoza, Spain 1994 The Green House installation, photographs and sculpture from In the Last Hour, Lakeview Museum, Peoria, IL, US The Wedding installation, Janet Borden, Inc., New York, NY, US Photographs and works from In the Last Hour, The Amarillo Art Museum, Amarillo, TX, US The Cocktail Party installation, Allene Lapides Gallery, Santa Fe, NM, US Photographs, Tarasona Photo Festival, Veruela Monastery, Tarasona, Spain The Wedding installation, photographs and sculpture from In the Last Hour, Columbus Museum of Art, Columbus, OH, US The Cocktail Party installation, photographs and sculpture from In the Last Hour, Wichita State University, Ulrich Museum, Wichita, KS, US 1993 The Cocktail Party installation, Manchester Craftsmen’s Guild, Pittsburgh, PA, US Photographs and works from In the Last Hour, The Morris Museum, Morristown, NJ, US Pour la Vie, Museum of Contemporary Art (CAPC), Bordeaux, France A Breeze At Work installation, James Madison University, Harrisonburg, VA, US In the Last Hour, Yvonamour Palix Espace d’Art, Paris, France Photographs, Salama-Caro Gallery, London, England Photographs and Sculpture, Allene Lapides Gallery, Santa Fe, NM, US A Breeze At Work installation, Southeast Center for Contemporary Art, Winston-Salem, NC, US The Green House installation, Madison Art Center, Madison, WI, US The Cocktail Party and Body Limits installation, Bernard Toale Gallery, Boston, MA, US Gathering Paradise and A Breeze at Work installation, photographs and sculpture from In the Last Hour, Blue Star Artspace, San Antonio, TX, US The Green House installation, University of North Texas, Denton, TX, US The Green House installation, Diverse Works, Houston, TX, US 1992 Atomic Love, Body Limits, and The Cocktail Party installations, Janet Borden, Inc., New York, NY, US In the Last Hour: Sandy Skoglund: Photo/Sculpture, University of Oklahoma, Fred Jones, Jr. Museum of Art, Norman, OK, US The Green House installation, Aspen Art Museum, Aspen, CO, US Art Basel 23’92 mit Sandy Skoglund, Gelerie zur Stockeregg, Zurich, Switzerland Radioactive Cats installation and retrospective photographs, L’Espace Photographique de la Ville de Paris, Paris, France Food Still Life Series, Janet Borden, Inc., New York, NY, US Radioactive Cats installation and retrospective photographs, Fundacion “la Caixa,” Sala Catalunya, Barcelona, Spain The Green House installation, The Lowe Art Museum, Coral Gables, FL, US Photographs, Gallery K, Washington D.C, US Radioactive Cats installation and retrospective photographs, Fotoforum, Bremen, Germany The Green House installation, The Tampa Museum of Art, Tamps, FL, US Radioactive Cats installation and retrospective photographs, Forografie Forum Frankfurt, Frankfurt, Germany 1991 Gathering Paradise installation, Hartford Art School, Harry Hack Gray Center, West Hartford, CT, US Photographs, Kyle Roberts Gallery, San Francisco, CA, US Radioactive Cats installation and retrospective photographs, Nikon Galerie, Zurich, Switzerland The Green House installation, Memphis Brooks Museum, Memphis, TN, US Gathering Paradise installation, P.P.O.W Gallery, New York, NY, US Radioactive Cats installation and retrospective photographs, Staatsgalerie, Erlangen, Germany The Green House installation, The Morgan Gallery, Kansas City, MO, US Photographs, Ehlers Caudill Gallery, Chicago, IL, US Gathering Paradise installation, Carl Solway Gallery, Cincinnati, OH, US The Green House installation, Fay Gold Gallery, Atlanta, GA, US 1990 The Green House installation, Tyler School of Art, Temple Gallery, Philadelphia, PA, US The Green House installation, Janet Borden, Inc., New York, NY, US Radioactive Cats installation and retrospective photographs, Parco Gallery, Tokyo, Japan Fox Games installation, The Denver Art Museum, Denver, CO, US True Fiction portfolio and Fox Games photograph, International Museum of Photography, George Eastman House, Rochester, NY, US The Green House installation,
Recommended publications
  • A Bestiary of the Arts
    LA LETTRE ACADEMIE DES BEAUX-ARTS A BESTIARY OF THE ARTS 89 Issue 89 Spring 2019 Editorial • page 2 News: Annual Public Meeting of the Five Academies News: Installations under the Coupole: Adrien Goetz and Jacques Perrin News: Formal Session of the Académie des beaux-arts • pages 3 to 7 Editorial The magnificent Exhibition: “Oriental Visions: Cynocephalus adorning the cover of this edition of From Dreams into Light” La Lettre emanates a feeling of peaceful strength Musée Marmottan Monet true to the personality of its author, Pierre-Yves • pages 8 and 9 File: Trémois, the oldest member of the Académie des Beaux-Arts after being elected to Paul Lemangy’s “A bestiary of the arts” seat on 8 February 1978. • pages 10 to 34 Through the insatiable curiosity and astounding energy that he brings to the table at the age of News: “Concerts for a seat” ninety-eight, Pierre-Yves Trémois shows us Elections: Jean-Michel Othoniel, the extent to which artistic creation can be Marc Barani, Bernard Desmoulin, regenerative, especially when it is not seeking to conform to any passing trend. News: The Cabinet des estampes de la In May 2017 we elected forty-three year-old composer Bruno Mantovani to Jean bibliothèque de l’Institut Prodromidès’ seat. Tribute: Jean Cortot Watching the two passionately converse about art, we realized that the half • pages 35 to 37 century separating them was of no importance. The Académie des Beaux-Arts is known for the immense aesthetic diversity Press release: “Antônio Carlos Jobim, running throughout its different sections. highly-elaborate popular music” This reality is in stark contrast with academicism.
    [Show full text]
  • Chapter 4 Lesson 1: the Media Of
    LESSONLESSON 11 The Media of Art Every work of art begins with a thought or Other art is made to be appreciated in idea. Every work ends with a realization of that three dimensions. Statues and most objects of starting concept. What happens in between is applied art fall into this category. They are a result of many choices the artist makes. made to be seen from different sides and an- Some of the most important choices are gles. The same is true of works of architecture. the tools and materials that will be used to Like art itself, the media and processes create the artwork. For some projects, the ma- used in its creation can be categorized as terials may include clay and sculpting tools. being two- or three-dimensional. For others, the tools of choice may be crayons ● Two-dimensional media and processes. and paper. A computer screen and a mouse These include tools and materials used in might be used by others. These and other the various processes of picture making. tools and materials used to create works of art are Among these tools are pencils, pens, known collectively as art media. pastels, and paint brushes. Materials, or It is worth noting that that term—art surfaces, on which the two-dimensional media—is plural. It refers to more than one image appears include paper, parch- material or tool. When referring to a single ment, and canvas. Figure 4–1, which art material or tool, you use the term art opened this chapter on page 66, was medium.
    [Show full text]
  • A Curriculum Guide
    FOCUS ON PHOTOGRAPHY: A CURRICULUM GUIDE This page is an excerpt from Focus on Photography: A Curriculum Guide Written by Cynthia Way for the International Center of Photography © 2006 International Center of Photography All rights reserved. Published by the International Center of Photography, New York. Printed in the United States of America. Please credit the International Center of Photography on all reproductions. This project has been made possible with generous support from Andrew and Marina Lewin, the GE Fund, and public funds from the New York City Department of Cultural Affairs Cultural Challenge Program. FOCUS ON PHOTOGRAPHY: A CURRICULUM GUIDE PART IV Resources FOCUS ON PHOTOGRAPHY: A CURRICULUM GUIDE This section is an excerpt from Focus on Photography: A Curriculum Guide Written by Cynthia Way for the International Center of Photography © 2006 International Center of Photography All rights reserved. Published by the International Center of Photography, New York. Printed in the United States of America. Please credit the International Center of Photography on all reproductions. This project has been made possible with generous support from Andrew and Marina Lewin, the GE Fund, and public funds from the New York City Department of Cultural Affairs Cultural Challenge Program. FOCUS ON PHOTOGRAPHY: A CURRICULUM GUIDE Focus Lesson Plans Fand Actvities INDEX TO FOCUS LINKS Focus Links Lesson Plans Focus Link 1 LESSON 1: Introductory Polaroid Exercises Focus Link 2 LESSON 2: Camera as a Tool Focus Link 3 LESSON 3: Photographic Field
    [Show full text]
  • Complete Resume Sandy Skoglund
    SANDY SKOGLUND ARTIST RESUME: GROUP EXHIBITIONS BIBLIOGRAPHY LECTURES COLLECTIONS SOLO EXHIBITIONS AND PROJECTS 2015 Paci Contemporary S.r.l, Brescia, Italy. Sandy Skoglund: The Unpublished Works March 7-May 26, 2015. 2014 Ooh Gallery San Fermo Maggiore, Verona, Italy. Sandy Skoglund Unusually Familiar, March 8- June 8, 2014. Curated by Valeria Nicolis. 2013 Fay Gold Gallery at Westside Cultural Arts Center, Atlanta, Georgia. Solo exhibition photographs, June 27, 2013-August 30, 2013. 2012 Rule Gallery, Denver, Colorado. Eyeflakes and The Invented World. Survey of early photographs and works in progress. Sculpture and photography. Reviewed Artforum Magazine April 2012 page 218. Paci Contemporary, Brescia, Italy. Winter: work in progress. March 30, 2012- June 5, 2012. 2011 McNay Museum of Art, San Antonio, Texas. Acquisition and collection installation of The Cocktail Party. Multi-media installation on view November-December 2011. 2010 WNET, American Public television series segment titled Dreams and Visions, interview by Arash Hoda in studio with Sandy Skoglund discussing creative process. Broadcast date to be announced Fall 2010. LDPF: Lucca Digital Photography Festival, November 2010. Lifetime achievement in photography award. The Power of the Imagination: Exhibition of photography and installation. Nov. 26-27, 2010. Fotografiska Museum, Stockholm, Sweden. The Artificial Mirror, survey of work by Sandy Skoglund Sept.- November 2010 Mjellby Museum, Halmstad, Sweden. Sandy Skoglund Survey of photographs. June-September 2010. Lowe Art Museum, Miami, Florida. Permanent acquisition and installation of Breathing Glass. 2009 Palazzo Giovanelli, Venice, Italy. The Artificial Mirror: Sandy Skoglund Survey of work since 1974. Catalogue/book published by Contrasto. June-October 2009. Centro di Ricerca e Archiviazione della Fotografia (CRAF) Center and Archive of Photography, Regione Fruili Venezia Giulia, 22nd festival of Photography, Milan, Italy.
    [Show full text]
  • The Spider That Died in the Tower of London), Cornelia Parker …About the Artist University Art Museum, CSU, Collection of Mark and Polly Addison, 2005.143.6
    Bugs: A Portfolio (The Spider that died in the Tower of London), Cornelia Parker …About the artist University Art Museum, CSU, collection of Mark and Polly Addison, 2005.143.6 Cornelia Parker was born in Cheshire, UK and is an English sculptor and installation artist. Parker transforms familiar, everyday objects in ways to get the viewer to think of them in a different way. She does this by suspending, enlarging, exploding, crushing, stretching objects, and even through language with her titles. Parker is married and has one daughter. She works in London. Lesson Overview Students will explore the contemporary art work The Spider that Died in the Tower of London by Cornelia Parker and investigate how artists can use familiar objects and images to intrigue and puzzle the viewer. Students will create a mixed media representation of their own after examining the intentions of contemporary artists. Objectives Vocabulary --Installation art 1. Students will be able to write an interpretative narrative based on the art --Sculptor work, The Spider that Died in the Tower of London. --Contemporary art --Modern art 2, Students will be able to define and describe installation art, mixed media, --Mixed media artistic intent and concept. --Artistic intent 3. Students will be able to critically reflect on and describe works of art by --Concept interpreting artistic intent. --Scale --Juxtaposition 4. Students will be able to identify and describe works of art by Cornelia Parker, Claes Oldenburg, Charles Simonds and Sandy Skoglund. Artists 5. Students will be able to create a mixed media art work based on the concept --Cornelia Parker of transformation by employing juxtaposition, scale, naming, animation or --Claes Oldenburg contrast.
    [Show full text]
  • Skoglund Press 2017.Indd
    Sandy Skoglund Food Still Lifes July 12 – August 11, 2017 Reception: Tuesday, July 18, 5:30–7:30pm RYAN LEE is pleased to present Food Still Lifes, an exhibition of the 1978 photographic series of the same name by Sandy Skoglund. Each of the Food Still Lifes considers the staging and arranging not only of traditional still life compositions but of 70s consumer culture. Though celebrated as early examples of the high-anxiety psychedelic pop tableaux for which Skoglund is best known, the complete series of ten photographs has been exhibited only twice previously. Each image in the series depicts a meticulous arrangement of processed food – canned meat or vegetables, marble cake, and cookies – against vividly patterned contact papers. These brightly colored surroundings mimic the patterns of the food itself and fill the frame of the image, creating a dizzying perspectival distortion. In Peas on a Plate, a diamond of green peas sits atop a polka-dotted red plate at the center of the image. The spherical shape of the peas is repeated in the polka dots and the background – a grid of alternating red, black, and yellow squares each with 16 evenly spaced white circles. The resulting scene is a vibrating layering of color and shape that is both whimsical and disconcerting. Luncheonmeat on a Counter presents a sliced slab of meat laid directly onto marbleized contact paper. Simultaneously alluring and repelling, the variegated swirls of the golden contact paper are reflected in the red and pink color variations of the meat. Three images in the series take this perceptual disruption even further.
    [Show full text]
  • Youth Art Month Loves Texas !
    Summer 2011 STAR SUMMER 2011 Youth Art Month Loves Texas ! 2011 YAM flag design winner, Austin Heuns, 10th grade, Coppell High School. 1 • TAEA 2 • Summer 2011 PRESIDENT’S MESSAGE “Peace does not mean to be in a place where there is no noise, trouble or hard work. It means to be in the midst of those things and still be calm in your heart.” – author unknown During these long, hot, lazy days of summer I hope that you have found some peace and quiet. I hope that you have taken the time to renew and refresh your spirit. I hope that you have had an opportunity to find a quiet place, still your spirit, and take a nap. We are art educators. We know that soon we will be called back to do what we do so well ... we inspire creativity, we foster risk-taking, and we nurture the spirits of students. Soon, once again - like all of the years before, we will take up the task before us, and wade into the creative noise of the classroom, confront the trouble of shrinking budgets and exploding class numbers, and face the hard work that lies ahead. It is what we do. Everyday matters. Everyday matters is not just the theme of the 50th anniversary of TAEA conference, it should be our guiding light each and every day in the classroom. Matching Action to the Mission While standing in front of the bathroom mirror and polishing up our classroom game face prior to the first day of class, it always helps to review our mission and purpose.
    [Show full text]
  • Press Release
    For Immediate Release Date: February 5, 2021 Contact: RULE Gallery, (303) 800-6776, [email protected] Other Fictions March 19 – April 24, 2021 Joseph Coniff, Sandra Elkind, Julie Henson, Wes Kennedy, George P. Perez, and Sandy Skoglund (Denver, CO) RULE Gallery is pleased to present Other Fictions, a group exhibition featuring Joseph Coniff, Sandra Elkind, Julie Henson, Wes Kennedy George P. Perez, and Sandy Skoglund as part of Month of Photography. A timed-entry reception will be held Friday, March 19, from 5-8p and will be on view to the public from March 6 – April 24, 2021. Gallery hours are Tues - Friday 12-6p, Sat 12-5p with CDC COVID-19 guidelines in place. There are endless ways to create a photograph. From snapshots to staged scenes the artists presented in Other Fictions explore how different photographic processes can be used to create images. One such method known as the “Directorial Mode” of photography gained popularity as a style that further revealed the manipulations of the photographer with the resulting images often referred to as “fictions”. Together the artists presented in Other Fictions explore the possibilities of manipulating photography and how these constructions reveal the very real aspects of our world. Joseph Coniff, George P. Perez and Wes Kennedy’s works often incorporate found images to discuss the historical development of objects and social systems. In this series of Bouquets, Joseph Coniff takes an image of a bouquet of roses from a florist’s ad and places it beneath frosted glass to partially obscure the image. The hazy floral arrangement causes us to look a little closer and question the cultural importance we place within a bouquet of roses.
    [Show full text]
  • Katia Meisinger Experiencing the Ethereal
    Katia Meisinger ART 493 SMP 1: Fall 2017 Experiencing the Ethereal Table of Contents: • Artist’s Statement • Introduction • Getting to the Basics (Interview 1) • Climbing the Thought Tree (Interview 2) • Motivations and Influences • Mid-Semester Reflection • Critique Reflection • They Inspire Me • Analyzing My Work • Annotated Bibliography Artist’s Statement: Wherever we are, the space we occupy is influenced and altered by the individual's interpretation, perception, and response to that space. No two people will ever have the same experience on all sensory levels, even though they may be occupying the same space. How we use that space or view that space will change depending on not only the person and their mood at that moment, unique traits and abilities, or cultural/ethnic/academic background, but also any number of environmental influences. Therefore, revisiting places from our past often result in entirely different emotions as those that we remembered. Entering a space is an experience. The concept behind the creation of this installation is to encourage people to enjoy the freedom of walking into the space and experiencing an altered perception of reality. By transforming the space, it becomes separated from the gallery; not just by walls, but also by the mutated snail chair, the fairy-like butterflies, the pillow pond, etc. The snail is a functional object, as are the grass floor and pillow pond. These all allow people to use the space as they please, while mentally and emotionally transporting themselves outside of the gallery walls. Altered perceptions of reality and how we see everyday objects, and how these objects are transformed into flora and fauna.
    [Show full text]
  • Sandy Skoglund
    Table of Contents Welcome ................................................................................................................ 1 Event Schedule ..................................................................................................... 2 - 3 General Information .............................................................................................. 5 Exhibitors .............................................................................................................. 7 - 8 General Session Speakers ................................................................................... 9 - 11 Master Art Educator Series .................................................................................. 12 - 15 “Inside the Studio” ............................................................................................... 16 - 18 Thursday Workshops ........................................................................................... 20 - 21 Tours ...................................................................................................................... 22 - 23 Experience Institutes ............................................................................................ 24 - 25 Build Your Own Schedule .................................................................................... 26 - 29 Workshops ............................................................................................................ 30 - 55 Conference Presenters ........................................................................................
    [Show full text]
  • An Exploration of American Art and Popular Culture
    ConneCtions Guide An Exploration of American Art and Popular Culture. November 16, 2007–January 28, 2008 Contents About this Guide 2 exhibition overview 3 on the outside 4 plAy & displAy 5 Laurie Simmons Sandy Skoglund Cindy Sherman MAnipulAtinG FilM & TV 8 Andy Warhol Dara Birnbaum hAir & beAuty 10 Ellen Gallagher Lorna Simpson stAGinG identities 12 Lynn Hershman Leeson Nikki S. Lee Cover: left Lynn Hershman Leeson Construction Chart #1, 1975, from Roberta Breitmore lower right Laurie Simmons Pushing Lipstick (Full Profile), 1979 lower left Nikki S. Lee The Hip Hop Project (1), 2001 About this Guide This guide is designed as a companion to the special exhibition Beauty and the Blonde: An Exploration of American Art and Popular Culture. Its primary aim is to facilitate a sense of open discovery, encouraging visitors to explore the exhibition and make connections among various works of art. The themes, topics, and discussion questions in this resource are provided as a starting point for such discovery, facilitating the process of looking and making meaning of selected works in this exhibition. In conjunction with its focus on the Beauty and the Blonde exhibition, this guide also links to the Mildred Lane Kemper Art Museum’s school and community program entitled “On the Outside: Rethinking Identity through American Art and Literature.” The aim of this program is to open dialogues regarding issues of identity, beauty, and physical appearance, specifically focusing on the strategies that specific artists adopt to critically address these and other aspects of representation. The sections of this guide that relate to “On the Outside”—which include a description of the program and the colored side boxes—can be used by teachers and visiting community groups as well as anyone interested in exploring this exhibition in new and different ways.
    [Show full text]
  • Constructed and Staged Images
    Education Guide CONSTRUCTED AND STAGED IMAGES Jennifer Greenburg Something funny happened in the kitchen, 2011 This print viewing introduces a range of staged and constructed photographic images that utilize a variety of techniques, including photomontage and stitching together multiple images in the darkroom or digitally. Artists presented create narratives by carefully composing their settings, altering photographs, or going to more elaborate ends to construct images and tableaus based in imagination rather than a record of “real” events. The 2018–2019 exhibition season is generously sponsored by The Andy Warhol Foundation for the Visual Arts, the Illinois Arts Council Agency, the City of Chicago’s Department of Cultural Affairs and Special Events (DCASE), and the Efroymson Family Fund. Constructed and Staged Images | 2 Clarissa Bonet American, b. 1986 LEFT TO RIGHT: Fortress, 2016 2018:3 Perpetual Shadow, 2014 2016:90 For her City Space series (2011–16), Clarissa Bonet observes and takes note of chance encounters and interactions she witnesses between strangers on the streets of downtown Chicago. Initially recording the interactions with her iPhone, in what she calls sketches, Bonet later restages the moments, carefully setting up her location, lighting, and models to recreate the scene. The resulting pictures portray mundane exchanges as dramatic, with individuals anonymously and solitarily navigating a confounding urban terrain. Questions •Where does your eye go first when you see these images? What is Bonet doing in the for looking composition to lead your eye there first? •How has she used light and shadow? What impact does her use of light and shadow make to the overall mood or feeling? •What clues does the artist provide to help us understand the staged nature of these images? •Do you consider these images to fall into the genres of street or documentary photography or something else? Explain.
    [Show full text]