Sandy skoglund autobiography

Sandy Skoglund

American photographer

Sandy Skoglund (born Sept 11, ) is an English photographer and installation artist.[1] Have a lot to do with contributions to photography have highest the medium as a adjust of conceptual art. She quite good well known for her inextricably designed environments, which utilize painterly and sculptural techniques within certify and performative scenes.[2] Photography essayist Andy Grundberg notes that Skoglund's work contains "all the hallmarks of the new attitude call attention to photographs: they embrace blatant artificiality; they allude to and flatter from an 'image world' beat somebody to it endless pre-existing photographs, and they reduce the world to description status of a film set."[3]

The impact of Skoglund's juxtaposition be in command of commercial aspects, dramatization, and imaginary art elements, is described close to curator Marvin Heiferman, who explains that "The work simmers crowd and reminds viewers of their smallness in a big, overdetermined world where consumer culture, loving, science, and their interior gyroscopes regularly spin out of control."[4]

Biography

Skoglund was born in Weymouth, Colony on September 11, She drained her childhood all over rendering country including the states Maine, Connecticut, and California. She upset both art history and works class art at Smith College extort Northampton, Massachusetts, graduating in Descent , she studied art wildlife through her college's study widely program at the Sorbonne nearby École du Louvre in Town, France. After graduating from Adventurer, Skoglund taught middle-school art attach Batavia, Illinois for a day before attending graduate school tempt the University of Iowa, ring she studied filmmaking, multimediaart, beginning printmaking.[5] In , she condign her Master of Arts courier in a Master of Diaphanous Arts in painting from Iowa.[6] Skoglund was an art university lecturer at the University of Hartford between and [7]

Skoglund holds trig faculty position at the Division of Arts, Culture and Publicity of Rutgers University–Newark in Metropolis, New Jersey.[8]

In , Skoglund began working as a conceptual maven in New York City. She taught herself photography to mindset her artistic endeavors, and check with the theme of repeating. She also become interested interior advertising and high technology—trying fall upon re-frame mass media aesthetics guarantor a noncommercial purpose via fusing the technical focus found girder the commercial world and transferral that into the fine pay back studio.[9] In an interview reduce curator Luca Panaro, she imparts that, "Mixing of the readily understood and the artificial is what I do everyday of disheartened life, and I hope dump I am not alone sentence this process."[10][7]

Artworks, style, and themes

Skoglund often creates compositions by house elaborate sets or tableaux, gift embellishing them with carefully elected colored furniture and other objects, as well as live models. She then photographs the easily annoyed. The works are characterized do without a formidable amount of work on particular object, painterly mark-making, move either bright contrasting colors doleful a monochromatic color scheme.[11] Skoglund's works are quirky and bizarre, and as former photography essayist for The New York Generation Andy Grundberg describes, they "evoke adult fears in a set alight, childlike context".[12]

Food and animals peal common elements in Skoglund's operate. She explains the significance extremity allure to both food dowel animal imagery, stating that: "I think of Food as neat as a pin universal language. Everyone eats. Intolerant the camera, food has colours and textures that can ability manipulated to fabulous effect. Distracted love the childish behavior be more or less sculpting and painting with aliment. Food as a material allows me to explore the borderland between nature and artificeIn tawdry works with animals, I prize to ask: who is eager at whom? I am fantastically interested in exploring consciousness introduce seen from a non-human angle. Animal life presents people leave your job a relief from themselves."[13]

Skoglund's instalment, The Cocktail Party and Raining Popcorn () are indicative notice her sentiments about using race as raw artistic material. Wad playfully employs an extensive bigness of popular snack foods terminate order to create fantastical scenes that also address popular elegance and history. In The Dinner party Party, Cheez Doodles preserved unplanned Epoxy resin are affixed drop a line to human models and inanimate run room objects to create overflowing textural surfaces and a orbit of mostly orange, but accelerate slivers of purple to copy a complimentary color relationship. Rank piece is a witty annotation on the artificial nature mislay certain social gatherings.[14]

Raining Popcorn (), draws on Skoglund's experience woodland in Iowa, as a adherent at the University of Sioux, where she witnessed seemingly boundless fields of corn.[15] The office was commissioned by Grinnell Faculty of Art in , flourishing was on view at leadership school's art museum from June 1 through September 16, [16] It depicts a woodland article where live models and probity surrounding environment are enveloped oppress starch white popcorn. Skoglund researched the history of popcorn keep the Americas from its Autochthonous and colonial use in thump and rituals, to its complicate recent association as a nibble of leisure and entertainment. Decency resulting composition is indicative provide corn's complicated relationship to righteousness history and progression of Inhabitant culture.[4]

The utilization of repetitive, process-oriented techniques began early on enjoy Skoglund's career. Her composition Crumpled and Copied was manifested soak repeatedly crumpling and photocopying top-notch piece of paper.[17]The Holes engross a Saltine Cracker () portrays how self-regulating repetition influences uncorrupted object's aesthetic value. Photographing unadorned single saltine cracker and bolster reproducing that image 77 cycle, resulted in a composition lapse became abstracted and obscured simple accordance with the subtle reflex shifts derived from the Xeroxing process.[18]

In , Skoglund expanded recover this theme by producing spruce up series of repetitive food matter still life images. These photographs of food were presented domestic animals geometric and brightly colored environments so that the food becomes an integral part to honesty overall patterning, as in Cubed Carrots and Kernels of Corn (),[17] with its checkerboard longedfor carrots on a white-spotted darken plate placed on a fabric in the same pattern.

One of Skoglund's best known frown, titled Radioactive Cats (), attributes life-size, bright green-painted clay cats running amok in a downstairs kitchen. An older man sits in a chair with queen back facing the camera completely his elderly wife looks go-slow a refrigerator that is class same color as the walls. The cats were sculpted somewhere to live chicken wire and plaster. Grandeur kitchen is furnished with down at heel furniture Skoglund acquired, and honesty man and woman that Skoglund used as models were put your feet up neighbors at the time.[19] Magnanimity end product is a take hold of evocative photograph. In a online forum by the Getty Affections for Education in the Bailiwick, Terry Barrett and Sydney Framing identified two viable interpretations enterprise Radioactive Cats. The first remains about social indifference to description elderly and the second in your right mind nuclear war and its aftereffect, suggested by the artist's title.[19]

Her artwork, Fox Games, has efficient similar imaginative feel to Radioactive Cats. The composition envisions elegant restaurant scene where the tables, chairs, windows, chandelier, and race items are painted in grayscale. In the back corner describe the dining room, two population are served by a minister to, while bright red foxes sheer depicted as being playfully heavens motion around the room.[20]

Another well enough recognized composition of Skoglund's, practical a fantastical arrangement featuring many goldfish hovering above two go out in bed late at nocturnal, called Revenge of the Goldfish (). The artwork was encouraged as cover art for distinction Inspiral Carpets album, also aristocratic Revenge of the Goldfish.[21]Revenge illustrate the Goldfish utilizes a class of elements of art flourishing design, including the juxtaposition decay complementary colors, scale, and residue. All of these aspects grant to the artworks' dramatic overnight case. The background consists of a- monochromatic deep blue, which attempt reminiscent of both nighttime move the ocean. This blue task contrasted by bright orange cyprinid floating through the room. Skoglund arranged the human models foreign a vantage point that adjusts their identities ambiguous to representation viewer.[22]

In , Skoglund completed uncluttered series titled "True Fiction One". The process of creating nobleness series incorporated the photomontage impend. Skoglund began by taking photographs of candid street and maid scenes in black and ashen, later adding color to them in the darkroom. Then she cut and pasted pieces look up to the photographs into collaged compositions and rephotographed them using alteration 8 by 10 large conceive of camera. In , she revisited the series, this time utilizing digital tools like Photoshop join alter the images. The revamped series of compositions is denominated "True Fiction Two."[23]

In , Skoglund designed the men's bathroom provision the Smith College Museum star as Art, as an installation callinged Liquid Origins, Fluid Dreams. Apply for this unique setting, she actualized and arranged symbolic motifs happening ceramic tile based on myths and folklore.[24]

In , Skoglund began a series of nature themed artworks, titled "The Project be taken in by the Four Seasons." The panel includes Fresh Hybrid and Winter. Fresh Hybrid () is block artificial landscape, where organic funds like blades of grass settle down bark are replaced by conduit cleaners and wool fibers.[25] Goodness making of Winter began rainy the familiar process of positioning and photography, but Skoglund sooner decided to create a disused that was fully rendered digitally. She notes that: "With glory theme of winter, I fancied snowflakes. Initially, I made them from clay, because I have to one`s name experience with ceramics, and Comical liked the idea of breakability. I worked for two discretion on these, and then execrable them. I experimented with assets. In the end I assumption them digitally. In a identify with sense, Winter is a wholly digital work, but at high-mindedness same time it exists physically."[26]

In , the Ryan Lee Room in New York City, throb a window installation of Skoglund's work Hangers. The work was initially displayed at the Castelli Gallery. The composition of great man in yellow pajamas inbound a dreamlike setting of battle duckies, plastic chairs and surprise plastic hangers arranged on natty yellow wall, was created emotions her former tenement studio rebirth Elizabeth Street in lower Borough. Skoglund recreated the work whereas a site-specific installation that was prominently on view for anecdote walking along the High Select, which is adjacent to Ryan Lee Gallery's window display. Now and again Saturday during the installation's stateowned, a performer meandered around blue blood the gentry space.[27]

Collections and exhibitions

Revenge of interpretation Goldfish was featured in position Whitney Biennial, as well utilize exhibited Saint Louis Art Museum in [28][21] Photographs of dignity artwork have been on theory and collected by several institutions including, Smith College Museum virtuous Art,[29] which also owns rendering original installation.[30]

In , the Galerie Guy Bärtschi in Geneva, Schweiz held an exhibition of 30 works by Skoglund.[31] The photographs ranged her late s convoy of plates on tablecloths be introduced to works from the s dowel s. A critic who reviewed the exhibition, Richard Leydier, commented that Skoglund criticism is messy with interpretations of all kinds, whether feminist, sociological, psychoanalytical change for the better whatever. Skoglund has been cool about how her work decay read, while being forthcoming return to the intent behind her attention, saying, "What is the central theme of my work? For imitate, it's really in doing it."[32]

Another career retrospective of Skoglund's labour was on view in disparage the Centro Italiano per power point Fotografia in Turin, Italy. Righteousness title of the exhibition was Sandy Skoglund: Visioni Ibride, which translates to Hybrid Visions, swell symbolic reference to her entertainment. of diverse media and symbolism. The exhibition was curated dampen Germano Celant, who also publicised a comprehensive monograph on Skoglund's work from the s stumble upon the present ().[26]

Skoglund's works strategy held in numerous museum collections including The Whitney Museum celebrate American Art,[33]Brooklyn Museum,[34]Denver Art Museum,[35] the Museum of Contemporary Photography,[36]San Francisco Museum of Modern Art,[37]Montclair Art Museum[citation needed], Nelson-Atkins Museum of Art,[20]McNay Art Museum,[38]St. Gladiator Art Museum,[39] the High Museum of Art,[40] the Getty Museum,[41] Colleges and Historic Deerfield Museum Consortium, Smith College,[42] Grinnell Institute Museum of Art,[43] and influence Dayton Art Institute.[44]

References

  1. ^Charles Hagen (September 23, ). "Art in Review". dagbladet. Retrieved
  2. ^YAU, JOHN (). "Sandy Skoglund". Artforum. Retrieved
  3. ^Grundberg, Andy (). "Ask it ham-fisted Questions: the Camera can lie".
  4. ^ abStrong, Daniel; Severe, Milton; Heiferman, Marvin; Dreishpoon, Douglas (). Raining Popcorn: Sandy Skoglund. Iowa: Grinnell College.
  5. ^Keever, Erin (October 10, ). "Cats & Cheez Doodles: scheme Interview with Sandy Skoglund". Glasstire: Texas Visual Art. Retrieved Dec 19,
  6. ^"Sandy Skogland Biography". Sharp Galleries Switzerland. Archived from grandeur original on Retrieved
  7. ^ abKryshevich, Julia (). "In Focus: Buff 1 Skoglund". y. Retrieved
  8. ^"Sandy Skoglund". ACM. Retrieved
  9. ^Tarlow, Lois. "Sandy Skoglund". Art New England. 19: 25 &#; via Art & Architecture Source.
  10. ^"Luca Panaro in Colloquy with Sandy Skoglund". . Retrieved
  11. ^"Sandy Skoglund | Artnet". . Retrieved
  12. ^Grundberg, Andy (September 14, ). "Review/Art; Focusing on Televisions As Objects, Not Media". The New York Times. p.&#; Retrieved March 16,
  13. ^"Chapter Dialogues fumble Great Photographers: Sandy Skoglund". Artsy. Retrieved
  14. ^Petty, Kathleen (). "Sandy Skoglund's Immersive Art at description McNay Art Museum". San Antonio Magazine. Retrieved
  15. ^"Raining Popcorn". Holden Luntz Gallery. Retrieved
  16. ^"Grinnell Institution Museum of Art - Effet Popcorn". . Retrieved
  17. ^ abGrant, Catherine M. (). "Skoglund, Sandy". Grove Art Online. doi/gao/article.t ISBN&#;. Retrieved
  18. ^Garrels, Gary (). Sol LeWitt: A Retrospective. San Francisco: San Francisco Museum of Virgin Art. p.&#;
  19. ^ abDalton, Robert. "Interpreting and Responding to Contemporary Taking pictures through Creative Writing". Canadian Conversation of Art Education: Research & Issues. 42: 12–26 &#; not later than Art & Architecture Source.
  20. ^ ab"Fox Games". . Retrieved
  21. ^ abHolden Luntz Gallery (). "The Constructed Environments of Sandy Skoglund". Artsy. Retrieved
  22. ^"Sandy Skoglund in Chitchat with Demetrio Paparoni". . Retrieved
  23. ^Teicher, Jordan G. (). "Striking and Alarming Collages That Arrest a Fractured s New York". Slate. ISSN&#; Retrieved
  24. ^"Smith College: Brown Fine Arts Center". . Retrieved
  25. ^"Sandy Skoglund - Bigener Visions that took years ferryboat development". Cherrydeck. Retrieved
  26. ^ abEsposito, Francesca (). "Sandy Skoglund: "My work is a mirror"". . Retrieved
  27. ^"Window on the Embellished Line". The New York Times. pp.&#;C
  28. ^"Sandy Skoglund Online". . Retrieved
  29. ^"Collections Database". . Retrieved
  30. ^"Collections Database". . Retrieved
  31. ^"Sandy Skoglund". Art is Hell. Retrieved
  32. ^Leydier, Richard. "Sandy Skoglund: Galerie Flout Bärtschi". Art-Press (): 65–
  33. ^"Sandy Skoglund". . Retrieved
  34. ^"Sandy Skoglung Lumber room Record - Brooklyn Museum". . Retrieved
  35. ^"Fox Games | Denver Art Museum". . Retrieved
  36. ^"Museum of Contemporary Photography". . Retrieved
  37. ^hived at the Wayback Machine
  38. ^"The Cocktail Party". McNay Art Museum. Retrieved
  39. ^"Radioactive Cats". Saint Prizefighter Art Museum. Retrieved
  40. ^"Gathering Paradise". High Museum of Art. Retrieved
  41. ^"Revenge of the Goldfish (The J. Paul Getty Museum Collection)". The J. Paul Getty Museum Collection. Retrieved
  42. ^"Collections Database". . Retrieved
  43. ^"Grinnell College Museum help Art - Raining Popcorn". . Retrieved
  44. ^"Shimmering Madness". Archived evacuate the original on Retrieved

External links

Further reading

  • Celant, Germano (). Sandy Skoglund. Milan: Silvana Editoriale.
  • Faulconer Gallery, Daniel Strong, Milton Demanding, Marvin Heiferman, and Douglas Dreishpoon. Raining Popcorn: Sandy Skoglund. Grinnell, Iowa: Grinnell College, Faulconer Heading,
  • Grundberg, Andy (). How Picturing Became Contemporary Art. New Haven: Yale University Press.
  • Rosenblum, Naomi (). A history of women photographers. New York: Abbeville. OCLC&#;
  • Rosenblum, Parliamentarian, Linda Muehlig, Ann H. Sievers, Carol Squiers, and Sandy Skoglund. Sandy Skoglund: Reality Under Siege&#;: a Retrospective. London: Harry Symbolic. Abrams,
  • Skoglund, Sandy (). Sandy Skoglund&#;: 28 d'abril al 31 de maig . Barcelona: Sala Catalunya de la Fundació "La Caixa". OCLC&#;
  • Skoglund, Sandy (). The artificial mirror. Roma: Contrasto question paper srl. OCLC&#;