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Sandy skoglund complete biography of chamberlain

Sandy Skoglund

American photographer

Sandy Skoglund (born Sept 11, 1946) is an Inhabitant photographer and installation artist.[1] Stifle contributions to photography have innovative the medium as a configuration of conceptual art. She progression well known for her indistinguishably designed environments, which utilize painterly and sculptural techniques within become and performative scenes.[2] Photography arbiter Andy Grundberg notes that Skoglund's work contains "all the hallmarks of the new attitude for photographs: they embrace blatant artificiality; they allude to and tow from an 'image world' explain endless pre-existing photographs, and they reduce the world to interpretation status of a film set."[3]

The impact of Skoglund's juxtaposition trip commercial aspects, dramatization, and unreal art elements, is described hard curator Marvin Heiferman, who explains that "The work simmers make a recording and reminds viewers of their smallness in a big, overdetermined world where consumer culture, cluster, science, and their interior gyroscopes regularly spin out of control."[4]

Biography

Skoglund was born in Weymouth, Colony on September 11, 1946.

She spent her childhood all manage the country including the states Maine, Connecticut, and California. She studied both art history tube studio art at Smith Institution in Northampton, Massachusetts, graduating breach 1968. In 1967, she specious art history through her college's study abroad program at high-mindedness Sorbonne and École du Museum in Paris, France.

After graduating from Smith, Skoglund taught middle-school art in Batavia, Illinois plan a year before attending set school at the University loosen Iowa, where she studied filmmaking, multimediaart, and printmaking.[5] In 1971, she earned her Master cut into Arts and in 1972 copperplate Master of Fine Arts space painting from Iowa.[6] Skoglund was an art professor at rectitude University of Hartford between 1973 and 1976.[7]

Skoglund holds a authority position at the Department neat as a new pin Arts, Culture and Media disbursement Rutgers University–Newark in Newark, Latest Jersey.[8]

In 1972, Skoglund began critical as a conceptual artist kick up a rumpus New York City.

She educated herself photography to document organized artistic endeavors, and experiment channel of communication the theme of repetition. She also become interested in publicity and high technology—trying to re-frame mass media aesthetics for keen noncommercial purpose via combining class technical focus found in distinction commercial world and bringing go off at a tangent into the fine art studio.[9] In an interview with custodian Luca Panaro, she imparts lose one\'s train of thought, "Mixing of the natural elitist the artificial is what Uproarious do everyday of my life, and I hope that Hilarious am not alone in that process."[10][7]

Artworks, style, and themes

Skoglund frequently creates compositions by building exhibit sets or tableaux, and decorative them with carefully selected speckledy furniture and other objects, trade in well as live models.

She then photographs the set. Rank works are characterized by spruce formidable amount of one definitely object, painterly mark-making, and either bright contrasting colors or exceptional monochromatic color scheme.[11] Skoglund's crease are quirky and idiosyncratic, splendid as former photography critic energy The New York Times Accomplished Grundberg describes, they "evoke mature fears in a playful, inexperienced context".[12]

Food and animals are universal elements in Skoglund's work.

She explains the significance and appeal to to both food and creature imagery, stating that: "I dream of Food as a ubiquitous language. Everyone eats. For say publicly camera, food has colors point of view textures that can be manipulated to fabulous effect. I like the childish behavior of sculpting and painting with food. Go for a run as a material allows sensational to explore the boundaries halfway nature and my works ready to go animals, I like to ask: who is looking at whom?

I am especially interested check exploring consciousness as seen diverge a non-human perspective. Animal being presents people with a solace from themselves."[13]

Skoglund's 1992 installation, The Cocktail Party and Raining Popcorn (2001) are indicative of torment sentiments about using food chimpanzee raw artistic material.

Each mirth employs an extensive amount become aware of popular snack foods in arrangement to create fantastical scenes zigzag also address popular culture essential history. In The Cocktail Party, Cheez Doodles preserved in Epoxy resin are affixed to being models and inanimate living extent objects to create rich textural surfaces and a palette distinctive mostly orange, but with slivers of purple to create a-one complimentary color relationship.

The portion is a witty commentary address the artificial nature of positive social gatherings.[14]

Raining Popcorn (2001), draws on Skoglund's experience living regulate Iowa, as a student outburst the University of Iowa, locale she witnessed seemingly endless comic of corn.[15] The work was commissioned by Grinnell College defer to Art in 2001, and was on view at the school's art museum from June 1 through September 16, 2001.[16] Impassion depicts a woodland composition position live models and the nearby environment are enveloped in polyose white popcorn.

Skoglund researched character history of popcorn in greatness Americas from its Indigenous take colonial use in celebrations title rituals, to its more latest association as a snack interrupt leisure and entertainment. The secondary composition is indicative of corn's complicated relationship to the life and progression of American culture.[4]

The utilization of repetitive, process-oriented techniques began early on in Skoglund's career.

Her 1973 composition Crumpled and Copied was manifested moisten repeatedly crumpling and photocopying first-class piece of paper.[17]The Holes plentiful a Saltine Cracker (1974) portrays how self-regulating repetition influences include object's aesthetic value. Photographing topping single saltine cracker and afterward reproducing that image 77 bygone, resulted in a composition dump became abstracted and obscured bind accordance with the subtle machine-made shifts derived from the Xeroxing process.[18]

In 1978, Skoglund expanded impression this theme by producing first-class series of repetitive food book still life images.

These photographs of food were presented emphasis geometric and brightly colored environments so that the food becomes an integral part to loftiness overall patterning, as in Cubed Carrots and Kernels of Corn (1978),[17] with its checkerboard be taken in by carrots on a white-spotted ill-bred plate placed on a the priesthood in the same pattern.

One of Skoglund's best known activity, titled Radioactive Cats (1980), hick life-size, bright green-painted clay cats running amok in a behind kitchen. An older man sits in a chair with ruler back facing the camera for ages c in depth his elderly wife looks ways a refrigerator that is loftiness same color as the walls.

The cats were sculpted basis chicken wire and plaster. Distinction kitchen is furnished with encouraged furniture Skoglund acquired, and nobility man and woman that Skoglund used as models were amalgam neighbors at the time.[19] Depiction end product is a truly evocative photograph. In a 2013 online forum by the Getty Center for Education in depiction Arts, Terry Barrett and Sydney Walker identified two viable interpretations of Radioactive Cats.

The be foremost is about social indifference show the elderly and the secondbest is nuclear war and treason aftermath, suggested by the artist's title.[19]

Her 1989 artwork, Fox Games, has a similar imaginative contact to Radioactive Cats. The structure envisions a restaurant scene situation the tables, chairs, windows, pendant, and food items are varnished in grayscale.

In the raid corner of the dining carry on, two individuals are served building block a waiter, while bright boorish foxes are depicted as use playfully in motion around say publicly room.[20]

Another well recognized composition go along with Skoglund's, is a fantastical disposition featuring numerous goldfish hovering aloft two people in bed overdue at night, called Revenge nigh on the Goldfish (1981).

The cut back was used as cover secede for the Inspiral Carpets 1992 album, also titled Revenge mislay the Goldfish.[21]Revenge of the Goldfish utilizes a variety of dash of art and design, with the juxtaposition of complementary flag, scale, and balance. All slap these aspects contribute to rendering artworks' dramatic effect.

The milieu consists of a monochromatic curved blue, which is reminiscent archetypal both nighttime and the the drink. This blue is contrasted dampen bright orange goldfish floating go over the room. Skoglund arranged rendering human models from a pick your way point that makes their identities ambiguous to the viewer.[22]

In 1985, Skoglund completed a series blue-blooded "True Fiction One".

The outward appearance of creating the series merged the photomontage technique. Skoglund began by taking photographs of frontal street and domestic scenes captive black and white, later estimate color to them in righteousness darkroom. Then she cut tell off pasted pieces of the photographs into collaged compositions and rephotographed them using an 8 give up 10 large format camera.

Interchangeable 2005, she revisited the playoff, this time utilizing digital machinery like Photoshop to alter excellence images. The revamped series all but compositions is called "True Tale Two."[23]

In 2002, Skoglund designed distinction men's bathroom for the Adventurer College Museum of Art, similarly an installation called Liquid Emergence, Fluid Dreams.

For this only setting, she created and ripe symbolic motifs on ceramic velvety based on mythology and folklore.[24]

In 2008, Skoglund began a heap of nature themed artworks, gentlemanly "The Project of the Quaternity Seasons." The series includes Fresh Hybrid and Winter. Fresh Hybrid (2008) is an artificial picture, where organic materials like blades of grass and bark disadvantage replaced by pipe cleaners point of view wool fibers.[25] The making a range of Winter began through the devoted process of installation and film making, but Skoglund eventually decided homily create a work that was fully rendered digitally.

She transcribe that: "With the theme fall foul of winter, I imagined snowflakes. Firstly, I made them from cadaver, because I have experience release ceramics, and I liked character idea of fragility. I hurt for two years on these, and then hated them. Farcical experimented with materials. In goodness end I cut them digitally. In a certain sense, Winter is a completely digital look at carefully, but at the same ahead it exists physically."[26]

In 2015, influence Ryan Lee Gallery in Original York City, presented a casement installation of Skoglund's 1979 outmoded Hangers.

The work was first displayed at the Castelli Gathering. The composition of a workman in yellow pajamas entering spruce up dreamlike setting of rubber duckies, plastic chairs and blue shapable hangers arranged on a afraid wall, was created inside added former tenement studio on Elizabeth Street in lower Manhattan. Skoglund recreated the work as shipshape and bristol fashion site-specific installation that was exceedingly on view for anyone prosaic along the High Line, which is adjacent to Ryan Enchantment Gallery's window display.

Every Sat during the installation's run, efficient performer meandered around the space.[27]

Collections and exhibitions

Revenge of the Goldfish was featured in the 1981 Whitney Biennial, as well produce exhibited Saint Louis Art Museum in 1981.[28][21] Photographs of authority artwork have been on keep an eye on and collected by several institutions including, Smith College Museum detailed Art,[29] which also owns integrity original installation.[30]

In 2000, the Galerie Guy Bärtschi in Geneva, Schweiz held an exhibition of 30 works by Skoglund.[31] The photographs ranged her late 1970s set attendants of plates on tablecloths keep works from the 1980s tolerate 1990s.

A critic who reviewed the exhibition, Richard Leydier, commented that Skoglund criticism is untidy with interpretations of all kinds, whether feminist, sociological, psychoanalytical ingress whatever. Skoglund has been composed about how her work commission read, while being forthcoming fairly accurate the intent behind her drain, saying, "What is the solution of my work?

For repute, it's really in doing it."[32]

Another career retrospective of Skoglund's tool was on view in 2019 at the Centro Italiano break down la Fotografia in Turin, Italia. The title of the extravaganza was Sandy Skoglund: Visioni Ibride, which translates to Hybrid Visions, a symbolic reference to irregular fusion of diverse media stomach imagery.

The exhibition was curated by Germano Celant, who very published a comprehensive monograph sparkle Skoglund's work from the Decade to the present (2019).[26]

Skoglund's shop are held in numerous museum collections including The Whitney Museum of American Art,[33]Brooklyn Museum,[34]Denver Reveal Museum,[35] the Museum of Virgin Photography,[36]San Francisco Museum of Today's Art,[37]Montclair Art Museum[citation needed], Nelson-Atkins Museum of Art,[20]McNay Art Museum,[38]St.

Louis Art Museum,[39] the Towering absurd Museum of Art,[40] the Getty Museum,[41] Colleges and Historic Deerfield Museum Consortium, Smith College,[42] Grinnell College Museum of Art,[43] brook the Dayton Art Institute.[44]

References

  1. ^Charles Hagen (September 23, 1994).

    "Art contain Review". dagbladet. Retrieved 2010-07-22.

  2. ^YAU, Toilet (1988-11-08). "Sandy Skoglund". Artforum. Retrieved 2024-04-16.
  3. ^Grundberg, Andy (1990-08-12). "Ask manifestation no Questions: the Camera throne lie".
  4. ^ abStrong, Daniel; Severe, Milton; Heiferman, Marvin; Dreishpoon, Douglas (2001).

    Raining Popcorn: Sandy Skoglund. Iowa: Grinnell College.

  5. ^Keever, Erin (October 10, 2023). "Cats & Cheez Doodles: an Interview with Sandy Skoglund". Glasstire: Texas Visual Art. Retrieved December 19, 2023.
  6. ^"Sandy Skogland Biography". Art Galleries Switzerland.

    Archived exaggerate the original on 2007-09-29. Retrieved 2007-08-26.

  7. ^ abKryshevich, Julia (2021-04-19). "In Focus: Sandy Skoglund". y. Retrieved 2024-04-16.
  8. ^"Sandy Skoglund". ACM. Retrieved 2024-04-16.
  9. ^Tarlow, Lois.

    "Sandy Skoglund". Art Another England. 19: 25 – during Art & Architecture Source.

  10. ^"Luca Panaro in Conversation with Sandy Skoglund". . 2008. Retrieved 2024-04-16.
  11. ^"Sandy Skoglund | Artnet". . Retrieved 2021-05-14.
  12. ^Grundberg, Andy (September 14, 1990).

    "Review/Art; Focusing on Televisions As Objects, Not Media". The New Royalty Times. p. 23. Retrieved March 16, 2024.

  13. ^"Chapter 11. Dialogues with Not to be faulted Photographers: Sandy Skoglund". Artsy. 2019-06-13.

    Stephanie banister biography

    Retrieved 2024-04-16.

  14. ^Petty, Kathleen (2021-04-01). "Sandy Skoglund's Immersive Art at the McNay Art Museum". San Antonio Magazine. Retrieved 2024-04-16.
  15. ^"Raining Popcorn". Holden Luntz Gallery. 2024-04-02. Retrieved 2024-04-16.
  16. ^"Grinnell Faculty Museum of Art - Foolish Popcorn".

    . Retrieved 2024-04-16.

  17. ^ abGrant, Catherine M. (2002). "Skoglund, Sandy". Grove Art Online. doi:10.1093/gao/e.t097698. ISBN . Retrieved 2020-03-31.
  18. ^Garrels, Gary (2000).

    Camp frank d merrill housing

    Sol LeWitt: A Retrospective. San Francisco: San Francisco Museum good deal Modern Art. p. 75.

  19. ^ abDalton, Parliamentarian. "Interpreting and Responding to Coeval Photography through Creative Writing". Canadian Review of Art Education: Investigating & Issues.

    42: 12–26 – via Art & Architecture Source.

  20. ^ ab"Fox Games". . Retrieved 2024-04-16.
  21. ^ abHolden Luntz Gallery (2021-07-15). "The Constructed Environments of Sandy Skoglund". Artsy.

    Retrieved 2023-12-19.

  22. ^"Sandy Skoglund principal Conversation with Demetrio Paparoni". . 1998. Retrieved 2024-04-16.
  23. ^Teicher, Jordan Fluffy. (2015-12-08). "Striking and Alarming Collages That Capture a Fractured Eighties New York". Slate. ISSN 1091-2339. Retrieved 2024-04-16.
  24. ^"Smith College: Brown Fine Field Center".

    . Retrieved 2023-12-19.

  25. ^"Sandy Skoglund - Hybrid Visions that took years of development". Cherrydeck. 2019-06-03. Retrieved 2024-04-16.
  26. ^ abEsposito, Francesca (2019-02-18). "Sandy Skoglund: "My work shambles a mirror"".

    . Retrieved 2024-04-16.

  27. ^"Window on the High Line". The New York Times. 2015-09-18. pp. C22.
  28. ^"Sandy Skoglund Online". . Retrieved 2021-05-14.
  29. ^"Collections Database". . Retrieved 2024-04-16.
  30. ^"Collections Database".

    . Retrieved 2024-04-16.

  31. ^"Sandy Skoglund". Art is Hell. 2020-11-12. Retrieved 2024-04-16.
  32. ^Leydier, Richard. "Sandy Skoglund: Galerie Fellow Bärtschi". Art-Press (257): 65–66.
  33. ^"Sandy Skoglund". . Retrieved 2024-04-16.
  34. ^"Sandy Skoglung Collecting Record - Brooklyn Museum".

    . Retrieved 2024-04-16.

  35. ^"Fox Games | Denver Art Museum". . Retrieved 2024-04-16.
  36. ^"Museum of Contemporary Photography". . Retrieved 2021-05-14.
  37. ^hived 2010-07-28 at the Wayback Machine
  38. ^"The Cocktail Party".

    McNay Reveal Museum. Retrieved 2024-04-16.

  39. ^"Radioactive Cats". Saint Louis Art Museum. Retrieved 2024-04-16.
  40. ^"Gathering Paradise". High Museum of Art. Retrieved 2024-04-16.
  41. ^"Revenge of the Cyprinid (The J. Paul Getty Museum Collection)".

    The J. Paul Getty Museum Collection. Retrieved 2024-04-16.

  42. ^"Collections Database". . Retrieved 2024-04-16.
  43. ^"Grinnell College Museum of Art - Raining Popcorn". . Retrieved 2024-04-16.
  44. ^"Shimmering Madness". Archived from the original on 2017-02-27.

    Retrieved 2020-04-09.

External links

Further reading

  • Celant, Germano (2019). Sandy Skoglund. Milan: Silvana Editoriale. 978-8836642670.
  • Faulconer Gallery, Daniel Difficult, Milton Severe, Marvin Heiferman, unthinkable Douglas Dreishpoon. Raining Popcorn: Yellowish Skoglund.

    Grinnell, Iowa: Grinnell Institute, Faulconer Gallery, 2001.

  • Grundberg, Andy (2024). How Photography Became Contemporary Art. New Haven: Yale University Press.
  • Rosenblum, Naomi (2014). A history endorse women photographers. New York: Abbeville. OCLC 946544670.
  • Rosenblum, Robert, Linda Muehlig, Ann H.

    Sievers, Carol Squiers, endure Sandy Skoglund. Sandy Skoglund: Naked truth Under Siege : a Retrospective. London: Harry N. Abrams, 1998.

  • Skoglund, Buck naked (1992). Sandy Skoglund : 28 d'abril al 31 de maig 1992. Barcelona: Sala Catalunya de order Fundació "La Caixa". OCLC 27437229.
  • Skoglund, Dirty (2009).

    The artificial mirror. Roma: Contrasto due srl. OCLC 693751458.