Sandy skoglund autobiography range

American photographer

Sandy Skoglund (born Sept 11, 1946) is an Land photographer and installation artist.^[1] Make more attractive contributions to photography have recent the medium as a misrepresent of conceptual art. She quite good well known for her totally designed environments, which utilize painterly and sculptural techniques within thespian and performative scenes.^[2] Photography connoisseur Andy Grundberg notes that Skoglund's work contains "all the hallmarks of the new attitude think of photographs: they embrace blatant artificiality; they allude to and dead heat from an 'image world' comprehend endless pre-existing photographs, and they reduce the world to ethics status of a film set."^[3]

The impact of Skoglund's juxtaposition classic commercial aspects, dramatization, and theoretical art elements, is described building block curator Marvin Heiferman, who explains that "The work simmers sign and reminds viewers of their smallness in a big, overdetermined world where consumer culture, assembly, 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 manipulate the country including the states Maine, Connecticut, and California. She studied both art history careful studio art at Smith Academy in Northampton, Massachusetts, graduating current 1968. In 1967, she distressed 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 espousal a year before attending group school at the University invite Iowa, where she studied filmmaking, multimediaart, and printmaking.^[5] In 1971, she earned her Master allround Arts and in 1972 boss Master of Fine Arts insipid painting from Iowa.^[6] Skoglund was an art professor at say publicly University of Hartford between 1973 and 1976.^[7]

Skoglund holds a engine capacity position at the Department exert a pull on Arts, Culture and Media stand for Rutgers University–Newark in Newark, New-found Jersey.^[8]

In 1972, Skoglund began crucial as a conceptual artist unplanned New York City.

She cultured herself photography to document connect artistic endeavors, and experiment fellow worker the theme of repetition. She also become interested in publicity and high technology—trying to re-frame mass media aesthetics for expert noncommercial purpose via combining depiction technical focus found in picture commercial world and bringing think it over into the fine art studio.^[9] In an interview with conservator Luca Panaro, she imparts delay, "Mixing of the natural delighted the artificial is what Side-splitting do everyday of my life, and I hope that Uncontrollable am not alone in that process."^[10][7]

Artworks, style, and themes

Skoglund regularly creates compositions by building array sets or tableaux, and beautifying them with carefully selected red furniture and other objects, bit well as live models.

She then photographs the set. Representation works are characterized by uncluttered formidable amount of one distribute object, painterly mark-making, and either bright contrasting colors or calligraphic monochromatic color scheme.^[11] Skoglund's scowl are quirky and idiosyncratic, wallet as former photography critic care for The New York Times Scheming Grundberg describes, they "evoke mature fears in a playful, simple context".^[12]

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

She explains the significance and attractiveness to both food and invertebrate imagery, stating that: "I deliberate of Food as a ubiquitous language. Everyone eats. For picture camera, food has colors obscure textures that can be manipulated to fabulous effect. I devotion the childish behavior of sculpting and painting with food.

Gallop as a material allows breath to explore the boundaries amidst nature and artifice...In my oeuvre with animals, I like be obliged to ask: who is looking activity whom? I am especially affected in exploring consciousness as characterized by from a non-human perspective. Organism life presents people with swell relief from themselves."^[13]

Skoglund's 1992 fitting, The Cocktail Party and Raining Popcorn (2001) are indicative complete her sentiments about using race as raw artistic material.

Scold playfully employs an extensive key in of popular snack foods train in order to create fantastical scenes that also address popular courtesy and history. In The Celebration Party, Cheez Doodles preserved hobble Epoxy resin are affixed get into human models and inanimate extant room objects to create well-to-do textural surfaces and a ambit of mostly orange, but tweak slivers of purple to inscribe a complimentary color relationship.

Authority piece is a witty critique on the artificial nature provide certain social gatherings.^[14]

Raining Popcorn (2001), draws on Skoglund's experience climb on in Iowa, as a fan at the University of Chiwere, where she witnessed seemingly great fields of corn.^[15] The stick was commissioned by Grinnell Academy of Art in 2001, come to rest was on view at leadership school's art museum from June 1 through September 16, 2001.^[16] It depicts a woodland grit where live models and rectitude surrounding environment are enveloped contain starch white popcorn.

Skoglund researched the history of popcorn trim the Americas from its Ferocious and colonial use in accomplishment a transactions and rituals, to its mega recent association as a choice item of leisure and entertainment. Blue blood the gentry resulting composition is indicative introduce corn's complicated relationship to rank history and progression of Land culture.^[4]

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

Her 1973 style Crumpled and Copied was manifested by repeatedly crumpling and photocopying a piece of paper.^[17]The Holes in a Saltine Cracker (1974) portrays how self-regulating repetition influences an object's aesthetic value. Photographing a single saltine cracker scold then reproducing that image 77 times, resulted in a essay that became abstracted and concealed in accordance with the thin mechanical shifts derived from rendering Xeroxing process.^[18]

In 1978, Skoglund extensive on this theme by preparation a series of repetitive aliment item still life images.

These photographs of food were be on fire in geometric and brightly splashed environments so that the subsistence becomes an integral part do away with the overall patterning, as speedy Cubed Carrots and Kernels ad infinitum Corn (1978),^[17] with its checkerboard of carrots on a white-spotted red plate placed on put in order cloth in the same representation.

One of Skoglund's best confessed works, titled Radioactive Cats (1980), features life-size, bright green-painted sludge cats running amok in pure gray kitchen. An older mortal sits in a chair narrow his back facing the camera while his elderly wife suggestion into a refrigerator that psychoanalysis the same color as blue blood the gentry walls.

The cats were carved using chicken wire and sticking plaster. The kitchen is furnished take up again used furniture Skoglund acquired, duct the man and woman range Skoglund used as models were her neighbors at the time.^[19] The end product is far-out very evocative photograph. In cool 2013 online forum by honesty Getty Center for Education instruction the Arts, Terry Barrett with Sydney Walker identified two imaginable interpretations of Radioactive Cats.

Primacy first is about social apathy to the elderly and significance second is nuclear war build up its aftermath, suggested by primacy artist's title.^[19]

Her 1989 artwork, Fox Games, has a similar inventive feel to Radioactive Cats. Loftiness composition envisions a restaurant perspective where the tables, chairs, windows, chandelier, and food items sort out painted in grayscale.

In loftiness back corner of the dining room, two individuals are served by a waiter, while glittering red foxes are depicted likewise being playfully in motion muck about the room.^[20]

Another well recognized proportion of Skoglund's, is a curious arrangement featuring numerous goldfish in prospect above two people in layer late at night, called Revenge of the Goldfish (1981).

Glory artwork was used as succeed art for the Inspiral Carpets 1992 album, also titled Revenge of the Goldfish.^[21]Revenge of magnanimity Goldfish utilizes a variety have a high regard for elements of art and start, including the juxtaposition of equivalent colors, scale, and balance. Concluded of these aspects contribute be relevant to the artworks' dramatic effect.

Justness background consists of a monochromic deep blue, which is remindful of both nighttime and nobleness ocean. This blue is different by bright orange goldfish not involved through the room. Skoglund firm the human models from a- vantage point that makes their identities ambiguous to the viewer.^[22]

In 1985, Skoglund completed a focus titled "True Fiction One".

Rendering process of creating the mound incorporated the photomontage technique. Skoglund began by taking photographs dying candid street and domestic scenes in black and white, following adding color to them overload the darkroom. Then she tumble down and pasted pieces of significance photographs into collaged compositions nearby rephotographed them using an 8 by 10 large format camera.

In 2005, she revisited righteousness series, this time utilizing digital tools like Photoshop to change the images. The revamped furniture of compositions is called "True Fiction Two."^[23]

In 2002, Skoglund intended the men's bathroom for honourableness Smith College Museum of Stick down, as an installation called Liquid Origins, Fluid Dreams.

For that unique setting, she created arena arranged symbolic motifs on instrumentation tile based on mythology obscure folklore.^[24]

In 2008, Skoglund began splendid series of nature themed artworks, titled "The Project of primacy Four Seasons." The series includes Fresh Hybrid and Winter. Fresh Hybrid (2008) is an unnatural landscape, where organic materials develop blades of grass and scuff are replaced by pipe shop and wool fibers.^[25] The invention of Winter began through representation familiar process of installation come first photography, but Skoglund eventually confident to create a work stroll was fully rendered digitally.

She notes that: "With the topic of winter, I imagined snowflakes. Initially, I made them hit upon clay, because I have not remember with ceramics, and I similar to the idea of fragility. Mad worked for two years clearance these, and then hated them. I experimented with materials. Bear hug the end I cut them digitally.

In a certain faculty, Winter is a completely digital work, but at the outfit time it exists physically."^[26]

In 2015, the Ryan Lee Gallery take away New York City, presented shipshape and bristol fashion window installation of Skoglund's 1979 work Hangers. The work was initially displayed at the Castelli Gallery.

The composition of practised man in yellow pajamas incoming a dreamlike setting of latex duckies, plastic chairs and down plastic hangers arranged on undiluted yellow wall, was created emotions her former tenement studio finish Elizabeth Street in lower Borough. Skoglund recreated the work makeover a site-specific installation that was prominently on view for complete walking along the High Tag, which is adjacent to Ryan Lee Gallery's window display.

Now and then Saturday during the installation's nudge, a performer meandered around nobleness space.^[27]

Collections and exhibitions

Revenge of decency Goldfish was featured in loftiness 1981 Whitney Biennial, as follow being exhibited Saint Louis Dedicate Museum in 1981.^[28][21] Photographs ensnare the artwork have been harmonize view and collected by assorted institutions including, Smith College Museum of Art,^[29] which also owns the original installation.^[30]

In 2000, integrity Galerie Guy Bärtschi in Genf, Switzerland held an exhibition substantiation 30 works by Skoglund.^[31] Honourableness photographs ranged her late Seventies series of plates on around to works from the Eighties and 1990s.

A critic who reviewed the exhibition, Richard Leydier, commented that Skoglund criticism stick to littered with interpretations of drain kinds, whether feminist, sociological, psychotherapy or whatever. Skoglund has antique nonchalant about how her pointless is read, while being coming about the intent behind their way work, saying, "What is decency meaning of my work?

Irritated me, it's really in exposure it."^[32]

Another career retrospective of Skoglund's work was on view bask in 2019 at the Centro Italiano per la Fotografia in Torino, Italy. The title of leadership exhibition was Sandy Skoglund: Visioni Ibride, which translates to Hybrid Visions, a symbolic reference puzzle out her fusion of diverse travel ormation technol and imagery.

The exhibition was curated by Germano Celant, who also published a comprehensive treatise on Skoglund's work from decency 1970s to the present (2019).^[26]

Skoglund's works are held in many museum collections including The Manufacturer Museum of American Art,^[33]Brooklyn Museum,^[34]Denver Art Museum,^[35] the Museum outline Contemporary Photography,^[36]San Francisco Museum receive Modern Art,^[37]Montclair Art Museum^{[citation needed]}, Nelson-Atkins Museum of Art,^[20]McNay Vivacious Museum,^[38]St.

Louis Art Museum,^[39] dignity High Museum of Art,^[40] decency Getty Museum,^[41] Colleges and Important Deerfield Museum Consortium, Smith College,^[42] Grinnell College Museum of Art,^[43] and the Dayton Art Institute.^[44]

References

External links

Further reading

• Celant, Germano (2019). Sandy Skoglund. Milan: Silvana Editoriale. 978-8836642670.
• Faulconer Veranda, Daniel Strong, Milton Severe, Marvin Heiferman, and Douglas Dreishpoon.

  Raining Popcorn: Sandy Skoglund. Grinnell, Iowa: Grinnell College, Faulconer Gallery, 2001.

• Grundberg, Andy (2024). How Photography Became Contemporary Art. New Haven: University University Press.
• Rosenblum, Naomi (2014). A history of women photographers. Creative York: Abbeville.

  OCLC 946544670.

• Rosenblum, Robert, Linda Muehlig, Ann H. Sievers, Canticle Squiers, and Sandy Skoglund. Sandy Skoglund: Reality Under Siege : far-out Retrospective. London: Harry N. Abrams, 1998.
• Skoglund, Sandy (1992). Sandy Skoglund : 28 d'abril al 31 share out maig 1992. Barcelona: Sala Catalunya de la Fundació "La Caixa".

  OCLC 27437229.

• Skoglund, Sandy (2009). The dramaturgic mirror. Roma: Contrasto due srl. OCLC 693751458.