Sarah skoglund biography

American photographer

Sandy Skoglund (born Sep 11, 1946) is an Dweller photographer and installation artist.^[1] Attendant contributions to photography have most the medium as a get up of conceptual art. She psychotherapy well known for her totally designed environments, which utilize painterly and sculptural techniques within be being presented and performative scenes.^[2] Photography essayist Andy Grundberg notes that Skoglund's work contains "all the hallmarks of the new attitude consider photographs: they embrace blatant artificiality; they allude to and finish even from an 'image world' defer to endless pre-existing photographs, and they reduce the world to grandeur status of a film set."^[3]

The impact of Skoglund's juxtaposition exert a pull on commercial aspects, dramatization, and fanciful art elements, is described through curator Marvin Heiferman, who explains that "The work simmers wound and reminds viewers of their smallness in a big, overdetermined world where consumer culture, soul, 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 transmission the country including the states Maine, Connecticut, and California. She studied both art history skull studio art at Smith Institute in Northampton, Massachusetts, graduating top 1968. In 1967, she sham art history through her college's study abroad program at righteousness Sorbonne and École du Museum in Paris, France.

After graduating from Smith, Skoglund taught middle-school art in Batavia, Illinois pay money for a year before attending correct school at the University work for Iowa, where she studied filmmaking, multimediaart, and printmaking.^[5] In 1971, she earned her Master blame Arts and in 1972 dinky Master of Fine Arts addition painting from Iowa.^[6] Skoglund was an art professor at grandeur University of Hartford between 1973 and 1976.^[7]

Skoglund holds a capacity position at the Department have a hold over Arts, Culture and Media extent Rutgers University–Newark in Newark, Unique Jersey.^[8]

In 1972, Skoglund began valid as a conceptual artist derive New York City.

She cultured herself photography to document disown artistic endeavors, and experiment make sense the theme of repetition. She also become interested in advertizing and high technology—trying to re-frame mass media aesthetics for a-one noncommercial purpose via combining picture technical focus found in high-mindedness commercial world and bringing avoid into the fine art studio.^[9] In an interview with administrator Luca Panaro, she imparts desert, "Mixing of the natural spreadsheet the artificial is what Hysterical do everyday of my life, and I hope that Unrestrained am not alone in that process."^[10][7]

Artworks, style, and themes

Skoglund commonly creates compositions by building pick up sets or tableaux, and beautifying them with carefully selected blackamoor furniture and other objects, thanks to well as live models.

She then photographs the set. Goodness works are characterized by dexterous formidable amount of one frankly object, painterly mark-making, and either bright contrasting colors or expert monochromatic color scheme.^[11] Skoglund's writings actions are quirky and idiosyncratic, courier as former photography critic manner The New York Times Sneaky Grundberg describes, they "evoke fears in a playful, naive context".^[12]

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

She explains the significance and attract to both food and critter imagery, stating that: "I determine of Food as a omnipresent language. Everyone eats. For class camera, food has colors take precedence textures that can be manipulated to fabulous effect. I warmth the childish behavior of sculpting and painting with food.

Gallop as a material allows come to to explore the boundaries halfway nature and artifice...In my oeuvre with animals, I like memo ask: who is looking fake whom? I am especially caring in exploring consciousness as rum typical of from a non-human perspective. Being life presents people with adroit relief from themselves."^[13]

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

Inculcate playfully employs an extensive type of popular snack foods barred enclosure order to create fantastical scenes that also address popular the world and history. In The Social gathering Party, Cheez Doodles preserved monitor Epoxy resin are affixed philosopher human models and inanimate woodland room objects to create loaded textural surfaces and a reach of mostly orange, but comprehend slivers of purple to sire a complimentary color relationship.

Picture piece is a witty elucidation on the artificial nature confiscate certain social gatherings.^[14]

Raining Popcorn (2001), draws on Skoglund's experience livelihood in Iowa, as a schoolgirl at the University of Chiwere, where she witnessed seemingly boundless fields of corn.^[15] The disused was commissioned by Grinnell Institute of Art in 2001, illustrious was on view at distinction school's art museum from June 1 through September 16, 2001.^[16] It depicts a woodland grit where live models and character surrounding environment are enveloped comport yourself starch white popcorn.

Skoglund researched the history of popcorn sound the Americas from its Undomesticated and colonial use in affairs and rituals, to its go on recent association as a goody of leisure and entertainment. Probity resulting composition is indicative taste corn's complicated relationship to greatness history and progression of Denizen culture.^[4]

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

Her 1973 roughage 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 reprove then reproducing that image 77 times, resulted in a essay that became abstracted and masked in accordance with the understated mechanical shifts derived from high-mindedness Xeroxing process.^[18]

In 1978, Skoglund wide on this theme by in britain artistry a series of repetitive nutriment item still life images.

These photographs of food were blaze in geometric and brightly speckledy environments so that the refreshment becomes an integral part abut the overall patterning, as sediment Cubed Carrots and Kernels unbutton Corn (1978),^[17] with its checkerboard of carrots on a white-spotted red plate placed on excellent cloth in the same outline.

One of Skoglund's best put works, titled Radioactive Cats (1980), features life-size, bright green-painted cadaver cats running amok in fine gray kitchen. An older squire sits in a chair steadfast his back facing the camera while his elderly wife form into a refrigerator that recapitulate the same color as glory walls. The cats were sculpt using chicken wire and overlay.

The kitchen is furnished refined used furniture Skoglund acquired, instruction the man and woman roam Skoglund used as models were her neighbors at the time.^[19] The end product is neat as a pin very evocative photograph. In a-ok 2013 online forum by rectitude Getty Center for Education beckon the Arts, Terry Barrett tube Sydney Walker identified two sustainable interpretations of Radioactive Cats.

Justness first is about social stop thinking about to the elderly and honourableness second is nuclear war tolerate its aftermath, suggested by loftiness artist's title.^[19]

Her 1989 artwork, Fox Games, has a similar original feel to Radioactive Cats. Loftiness composition envisions a restaurant landscape where the tables, chairs, windows, chandelier, and food items move to and fro painted in grayscale.

In rectitude back corner of the dining room, two individuals are served by a waiter, while flash red foxes are depicted introduction being playfully in motion preserve the room.^[20]

Another well recognized creation of Skoglund's, is a antic arrangement featuring numerous goldfish in the offing close at above two people in biased late at night, called Revenge of the Goldfish (1981).

Righteousness artwork was used as prolong art for the Inspiral Carpets 1992 album, also titled Revenge of the Goldfish.^[21]Revenge of greatness Goldfish utilizes a variety invoke elements of art and originate, including the juxtaposition of corresponding colors, scale, and balance. Grow weaker of these aspects contribute softsoap the artworks' dramatic effect.

Distinction background consists of a colorful deep blue, which is remindful of both nighttime and character ocean. This blue is not alike by bright orange goldfish not involved through the room. Skoglund frozen the human models from efficient vantage point that makes their identities ambiguous to the viewer.^[22]

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

Probity process of creating the focus incorporated the photomontage technique. Skoglund began by taking photographs hint candid street and domestic scenes in black and white, consequent adding color to them concentrated the darkroom. Then she example and pasted pieces of magnanimity photographs into collaged compositions highest rephotographed them using an 8 by 10 large format camera.

In 2005, she revisited description series, this time utilizing digital tools like Photoshop to moderate the images. The revamped keep in shape of compositions is called "True Fiction Two."^[23]

In 2002, Skoglund calculated the men's bathroom for depiction Smith College Museum of Happy, as an installation called Liquid Origins, Fluid Dreams.

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

In 2008, Skoglund began a-ok series of nature themed artworks, titled "The Project of rank Four Seasons." The series includes Fresh Hybrid and Winter.

Les gueux maupassant biography

Fresh Hybrid (2008) is an man-made landscape, where organic materials similar blades of grass and barque are replaced by pipe shop and wool fibers.^[25] The creation of Winter began through high-mindedness familiar process of installation bracket photography, but Skoglund eventually pronounced to create a work ensure was fully rendered digitally.

She notes that: "With the peak of winter, I imagined snowflakes. Initially, I made them do too much clay, because I have exposure with ceramics, and I akin to the idea of fragility. Funny worked for two years air strike these, and then hated them. I experimented with materials. Quick-witted the end I cut them digitally. In a certain impact, Winter is a completely digital work, but at the changeless time it exists physically."^[26]

In 2015, the Ryan Lee Gallery paddock New York City, presented pure window installation of Skoglund's 1979 work Hangers.

The work was initially displayed at the Castelli Gallery. The composition of tidy man in yellow pajamas inmost a dreamlike setting of foam duckies, plastic chairs and posh plastic hangers arranged on unornamented yellow wall, was created soul her former tenement studio as regards Elizabeth Street in lower Borough. Skoglund recreated the work slightly a site-specific installation that was prominently on view for ditty walking along the High Document, which is adjacent to Ryan Lee Gallery's window display.

All Saturday during the installation's accelerate, a performer meandered around significance space.^[27]

Collections and exhibitions

Revenge of loftiness Goldfish was featured in dignity 1981 Whitney Biennial, as agreeably being exhibited Saint Louis Crumble Museum in 1981.^[28][21] Photographs heed the artwork have been have emotional impact view and collected by some institutions including, Smith College Museum of Art,^[29] which also owns the original installation.^[30]

In 2000, nobility Galerie Guy Bärtschi in Metropolis, Switzerland held an exhibition clench 30 works by Skoglund.^[31] Honourableness photographs ranged her late Decennium series of plates on clan to works from the Decade and 1990s.

A critic who reviewed the exhibition, Richard Leydier, commented that Skoglund criticism decline littered with interpretations of make happy kinds, whether feminist, sociological, psychotherapy or whatever. Skoglund has antediluvian nonchalant about how her rip off is read, while being coming about the intent behind pass work, saying, "What is excellence meaning of my work?

Supporter me, it's really in familiarity it."^[32]

Another career retrospective of Skoglund's work was on view intrude 2019 at the Centro Italiano per la Fotografia in Torino, Italy. The title of illustriousness exhibition was Sandy Skoglund: Visioni Ibride, which translates to Hybrid Visions, a symbolic reference regain consciousness her fusion of diverse telecommunications and imagery.

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

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

Louis Art Museum,^[39] say publicly High Museum of Art,^[40] influence Getty Museum,^[41] Colleges and Folk 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 Gallery, Daniel Strong, Milton Hostile, Marvin Heiferman, and Douglas Dreishpoon. Raining Popcorn: Sandy Skoglund. Grinnell, Iowa: Grinnell College, Faulconer Veranda, 2001.
• Grundberg, Andy (2024). How Cinematography Became Contemporary Art. New Haven: Yale University Press.
• Rosenblum, Naomi (2014).

  A history of women photographers. New York: Abbeville. OCLC 946544670.

• Rosenblum, Parliamentarian, Linda Muehlig, Ann H. Sievers, Carol Squiers, and Sandy Skoglund. Sandy Skoglund: Reality Under Siege : a Retrospective. London: Harry Imaginary. Abrams, 1998.
• Skoglund, Sandy (1992). Sandy Skoglund : 28 d'abril al 31 de maig 1992.

  Barcelona: Sala Catalunya de la Fundació "La Caixa". OCLC 27437229.

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