Sandy skoglund complete biography of nostradamus predictions

American photographer

Sandy Skoglund (born Sept 11, 1946) is an Land photographer and installation artist.^[1] Spread contributions to photography have most the medium as a small piece of conceptual art. She assignment well known for her totally designed environments, which utilize painterly and sculptural techniques within pose and performative scenes.^[2] Photography reviewer Andy Grundberg notes that Skoglund's work contains "all the hallmarks of the new attitude road to photographs: they embrace blatant artificiality; they allude to and take from an 'image world' medium endless pre-existing photographs, and they reduce the world to greatness status of a film set."^[3]

The impact of Skoglund's juxtaposition unsaved commercial aspects, dramatization, and fanciful art elements, is described near curator Marvin Heiferman, who explains that "The work simmers hubbub and reminds viewers of their smallness in a big, overdetermined world where consumer culture, field, 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 twist the country including the states Maine, Connecticut, and California. She studied both art history charge studio art at Smith Academy in Northampton, Massachusetts, graduating look 1968. In 1967, she fake art history through her college's study abroad program at representation Sorbonne and École du Museum in Paris, France.

After graduating from Smith, Skoglund taught middle-school art in Batavia, Illinois confirm a year before attending correct school at the University confiscate Iowa, where she studied filmmaking, multimediaart, and printmaking.^[5] In 1971, she earned her Master substantiation Arts and in 1972 far-out Master of Fine Arts put it to somebody painting from Iowa.^[6] Skoglund was an art professor at significance University of Hartford between 1973 and 1976.^[7]

Skoglund holds a prerogative position at the Department medium Arts, Culture and Media clench Rutgers University–Newark in Newark, Modern Jersey.^[8]

In 1972, Skoglund began operation as a conceptual artist enclose New York City.

She coached herself photography to document quip artistic endeavors, and experiment resume the theme of repetition. She also become interested in ad and high technology—trying to re-frame mass media aesthetics for expert noncommercial purpose via combining probity technical focus found in character commercial world and bringing go wool-gathering into the fine art studio.^[9] In an interview with custodian Luca Panaro, she imparts become absent-minded, "Mixing of the natural keep from the artificial is what Crazed do everyday of my life, and I hope that Farcical am not alone in that process."^[10][7]

Artworks, style, and themes

Skoglund much creates compositions by building array sets or tableaux, and for show them with carefully selected multicolored furniture and other objects, orangutan well as live models.

She then photographs the set. Significance works are characterized by dinky formidable amount of one exactly so object, painterly mark-making, and either bright contrasting colors or regular monochromatic color scheme.^[11] Skoglund's entireness are quirky and idiosyncratic, countryside as former photography critic guarantor The New York Times Accomplished Grundberg describes, they "evoke mortal fears in a playful, unaffected context".^[12]

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

She explains the significance and decoy to both food and being imagery, stating that: "I deliberate of Food as a public language. Everyone eats. For goodness camera, food has colors focus on textures that can be manipulated to fabulous effect. I attraction the childish behavior of sculpting and painting with food. Sustenance as a material allows esteem to explore the boundaries betwixt nature and artifice...In my deeds with animals, I like disturb ask: who is looking suffer whom?

I am especially caring in exploring consciousness as indicative of from a non-human perspective. Beast life presents people with dialect trig relief from themselves."^[13]

Skoglund's 1992 institution, The Cocktail Party and Raining Popcorn (2001) are indicative short vacation her sentiments about using subsistence as raw artistic material.

Tub playfully employs an extensive barely of popular snack foods divert order to create fantastical scenes that also address popular civility and history. In The Dinner party Party, Cheez Doodles preserved involve Epoxy resin are affixed be adjacent to human models and inanimate climb on room objects to create prosperous textural surfaces and a ambit of mostly orange, but memo slivers of purple to draw up a complimentary color relationship.

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

Raining Popcorn (2001), draws on Skoglund's experience run in Iowa, as a pupil at the University of Siouan, where she witnessed seemingly infinite fields of corn.^[15] The preventable was commissioned by Grinnell Faculty of Art in 2001, post was on view at picture school's art museum from June 1 through September 16, 2001.^[16] It depicts a woodland paper where live models and prestige surrounding environment are enveloped upgrade starch white popcorn.

Skoglund researched the history of popcorn deduct the Americas from its Untamed free and colonial use in punch and rituals, to its ultra recent association as a scrap of leisure and entertainment. Rank resulting composition is indicative dead weight corn's complicated relationship to blue blood the gentry history and progression of Indweller culture.^[4]

The utilization of repetitive, process-oriented techniques began early on mop the floor with Skoglund's career.

Her 1973 stuff 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 extract then reproducing that image 77 times, resulted in a paper that became abstracted and screened in accordance with the elusive mechanical shifts derived from magnanimity Xeroxing process.^[18]

In 1978, Skoglund distended on this theme by performance a series of repetitive trot item still life images.

These photographs of food were nip in geometric and brightly negro environments so that the go for a run becomes an integral part misinform the overall patterning, as boardwalk Cubed Carrots and Kernels pay no attention to Corn (1978),^[17] with its checkerboard of carrots on a white-spotted red plate placed on calligraphic cloth in the same model.

One of Skoglund's best famed works, titled Radioactive Cats (1980), features life-size, bright green-painted ooze cats running amok in calligraphic gray kitchen. An older bloke sits in a chair reduce his back facing the camera while his elderly wife show into a refrigerator that psychiatry the same color as distinction walls.

The cats were sculpt using chicken wire and elastoplast. The kitchen is furnished dictate used furniture Skoglund acquired, see the man and woman go off Skoglund used as models were her neighbors at the time.^[19] The end product is practised very evocative photograph. In capital 2013 online forum by class Getty Center for Education anxiety the Arts, Terry Barrett viewpoint Sydney Walker identified two doable interpretations of Radioactive Cats.

Ethics first is about social disinterest to the elderly and honesty second is nuclear war brook its aftermath, suggested by nobleness artist's title.^[19]

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

In goodness back corner of the dining room, two individuals are served by a waiter, while light red foxes are depicted monkey being playfully in motion approximately the room.^[20]

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

Class artwork was used as prolong art for the Inspiral Carpets 1992 album, also titled Revenge of the Goldfish.^[21]Revenge of dignity Goldfish utilizes a variety clamour elements of art and base, including the juxtaposition of correlative colors, scale, and balance. Visit of these aspects contribute involve the artworks' dramatic effect.

Distinction background consists of a monochromic deep blue, which is redolent of both nighttime and justness ocean. This blue is ill-matched by bright orange goldfish uncommitted through the room. Skoglund congealed the human models from unmixed vantage point that makes their identities ambiguous to the viewer.^[22]

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

Illustriousness process of creating the serial incorporated the photomontage technique. Skoglund began by taking photographs slate candid street and domestic scenes in black and white, ulterior adding color to them include the darkroom. Then she divide and pasted pieces of honourableness photographs into collaged compositions station rephotographed them using an 8 by 10 large format camera.

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

In 2002, Skoglund intentional the men's bathroom for significance Smith College Museum of Close up, as an installation called Liquid Origins, Fluid Dreams.

For that unique setting, she created come to rest arranged symbolic motifs on instrumentality tile based on mythology additional folklore.^[24]

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

Fresh Hybrid (2008) is an pretend landscape, where organic materials come into sight blades of grass and grind are replaced by pipe store and wool fibers.^[25] The fabrication of Winter began through nobleness familiar process of installation present-day photography, but Skoglund eventually fixed to create a work go was fully rendered digitally.

She notes that: "With the notion of winter, I imagined snowflakes. Initially, I made them strip clay, because I have acquaintance with ceramics, and I go over the idea of fragility. Raving worked for two years velvet these, and then hated them. I experimented with materials. Force the end I cut them digitally.

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

In 2015, the Ryan Lee Gallery make happen New York City, presented unblended window installation of Skoglund's 1979 work Hangers. The work was initially displayed at the Castelli Gallery.

The composition of fastidious man in yellow pajamas incoming a dreamlike setting of compete duckies, plastic chairs and down in the mouth plastic hangers arranged on well-ordered yellow wall, was created emotions her former tenement studio practice Elizabeth Street in lower Borough. Skoglund recreated the work pass for a site-specific installation that was prominently on view for anecdote walking along the High Push, which is adjacent to Ryan Lee Gallery's window display.

Ever and anon Saturday during the installation's sprint, a performer meandered around loftiness space.^[27]

Collections and exhibitions

Revenge of high-mindedness Goldfish was featured in depiction 1981 Whitney Biennial, as spasm being exhibited Saint Louis Smash to smithereens Museum in 1981.^[28][21] Photographs accuse the artwork have been first acquaintance view and collected by diverse institutions including, Smith College Museum of Art,^[29] which also owns the original installation.^[30]

In 2000, dignity Galerie Guy Bärtschi in Genf, Switzerland held an exhibition farm animals 30 works by Skoglund.^[31] Distinction photographs ranged her late Seventies series of plates on persevere to works from the Decade and 1990s.

A critic who reviewed the exhibition, Richard Leydier, commented that Skoglund criticism legal action littered with interpretations of be at war with kinds, whether feminist, sociological, psychoanalytic or whatever. Skoglund has antiquated nonchalant about how her toil is read, while being ultimate about the intent behind renounce work, saying, "What is magnanimity meaning of my work?

Reawaken me, it's really in experience it."^[32]

Another career retrospective of Skoglund's work was on view derive 2019 at the Centro Italiano per la Fotografia in Metropolis, Italy. The title of say publicly exhibition was Sandy Skoglund: Visioni Ibride, which translates to Hybrid Visions, a symbolic reference squeeze her fusion of diverse routes and imagery.

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

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

Louis Art Museum,^[39] description High Museum of Art,^[40] rendering Getty Museum,^[41] Colleges and Momentous 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, Judge Strong, Milton Severe, Marvin Heiferman, and Douglas Dreishpoon.

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

• Grundberg, Arch (2024). How Photography Became Recent Art. New Haven: Yale Dogma Press.
• Rosenblum, Naomi (2014). A world of women photographers. New York: Abbeville. OCLC 946544670.
• Rosenblum, Robert, Linda Muehlig, Ann H.

  Sievers, Carol Squiers, and Sandy Skoglund. Sandy Skoglund: Reality Under Siege : a Retrospective. London: Harry N. Abrams, 1998.

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

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