These are a few ideas I hope to take inspiration from and Explore and experiment with over the coming weeks. Most of the images I found by searching the internet for photographic installations and these are but a few that caught my attention the most.
I really like how the photographs take on a structural form as opposed to being stuck on a wall or in a fame. They take on a life of their own.
Annette Messager (French, b.1943) is known primarily for her installation work, which often incorporates photographs, prints, drawings, and various materials from everyday life. Born in Berck-sur-Mer, she moved to Paris to study at the Ecole Nationale Supérieure des Arts Décoratifs before being asked to leave in 1966 because her professors felt she was not engaged in her studies. Her earlier work from the 1970s questioned gender norms and appropriated different personas in oft-controversial works, including close-up photographs of men’s crotches in trousers in The Approaches and a series of misogynistic French proverbs embroidered on cloth in My Collection of Proverbs. In recent years, Messager has explored the whimsical and grotesque fantasies of childhood, frequently incorporating dismembered stuffed animals and limbs into her installations. Her best-known work is her award-winning submission for the Venice Biennale in 2005, Casino, in which a wind machine creates waves and ripples in a large red silk sheet amongst strange creatures and forms. Messager began her successful career with first prize in the Kodak Photography International competition in 1964. Her first major American retrospective was co-organized by the Los Angeles County Museum of Art and New York’s Museum of Modern Art in 1995. She has had solo exhibitions at the Museo de Arte Moderno in Buenos Aires in 1999, at the Musée d’Art Moderne de la Ville de Paris in 2004, and a retrospective at the Centre Pompidou. She has exhibited at the Biennale de Paris in 1997; the Documenta VI in 1977 and XI in 2002; the Biennale of Sydney in 1979, 1984, and 1990; the Venice Biennale in 1980, 2003, and 2005; and the Biennale d’Art Contemporain de Lyon in 2000. Messager currently lives and works in Malakoff, France.
After graduating from a BA in Dance and Visual Art at the University of Brighton I completed an MA in Fine Art in the Slade School of Fine Art in 2010.http://londonsartistquarter.org/artist-hub/users/chloe-ostmo/profile
Jessica De Muro
“Unspeakable” two installations by Jessica De Muro, an artist based in Los Angeles whose work focuses on both installation and photography. Born in Ann Arbor, MI, before pursuing photography, she received BA in Journalism from Michigan State University. Later, she earned an Associate Degree in photography from Harrington College of Design in Chicago and a Master of Fine Arts in photography from Brooks Institute of Photography in Santa Barbara. Her current work addresses issues dealing with trauma, dissociation, and sexual violence. In her installations De Muro expresses a fragmented state of mind – which often results from sexual trauma – and generates in a physical form the compartmentalized alienation of the viewer’s own body and mind. In her installations a kinetic movement and energy is achieved by suspended prints which brings a sense of life to the work, giving breath not only to the pieces themselves but also to what they represent. Addressing the emotional consequences of rape, as opposed to the act itself, gives viewers a unique and genuine insight commonly overlooked when examining sexual violence.
This installation of photographic sculptures, called Romantic Detachment, was specially developed for UNFIXED, a multiplatform project that explores photography’s relationship to ideas of ethnicity, culture and identity in contemporary art. Much of the artwork of Naro Snackey, who is the maker of the installation, has been drawn from her personal archive and reveals the “social lives” of the family photographs that migrants from mixed descent brought with them from the Netherlands-Indies to the Netherlands during the processes of decolonization. In her work, Snackey often focuses on cultural identity and family background, in Romantic Detachment. She also explores the absence and presence of colonial legacies. As a second generation Indo-Dutch migrant she has always been interested in the extent to which archives determine postcolonial history. Therefore, her photographic image work can be regarded as an exploration of the intermingling of personal and public memories and of how “absent” family histories linger on in the margins of national discourses. Romantic Detachment reveals how Snackey’s work entails a variety of different forms and techniques. It is not only the interaction between the audience and the installation that produces new dimensions of time and space, but also the artist’s physical way of working and reworking the photographs. The enlarged prints of family photographs, mainly from her own family archive, serve as a first layer in the sculptures, which develop in different stages. Attached to layered plywood, the photographs are given a material “underground body”. The combination of personal photographs and wood is highly deliberate, as both are memories of a past life and both refer to their own past. Whereas the wooden body frames and sustains the photographic images, it also opens up the opportunity to carve into the layers underneath the surface. By scratching, tearing, painting, cutting, digging and carving with a chisel Snackey turns the wood into a sculpture whilst still keeping the photographic image recognizable. Through this process of obsessive carving, the object suggests new spaces of meaning, which invites the viewer to look beyond representation and the obvious image content.
|1976||Born in Fukuoka|
|1999||Completed the Post Graduate Course, Tokyo Zokei University, B.A. Fine Art Sculpture|
|2002||Completed the Graduate Course, Kyoto City University of Art, M.A. Fine Art Sculpture|
The theme of Japanese artist Nobuhiro Nakanishi work is “the physical that permeates into the art piece.” Laser print mounted with plexiglass acrylic and layered in a way that it all come up as some intriguing sculpture installations. ” In a foggy landscape, we no longer see what we are usually able to see – the distance to the traffic light, the silhouette of the trees, the slope of the ground. Silhouettes, distance and horizontal sense all become vague. When we perceive this vagueness, the water inside the retina and skin dissolve outwardly toward the infinite space of the body surface. The landscape continues to flow, withholding us from grasping anything solid. By capturing spatial change and the infinite flow of time, I strive to produce art that creates movement between the artwork itself and the viewer’s experience of the artwork.
Bigert & Bergström
Lars Bergström born 1962 in Stockholm
Mats Bigert born 1965 in Stockholm
Collaboration since 1986
Bigert & Bergström is an artist duo living and working in Stockholm, Sweden. They met while at the art academy in Stockholm in 1986 and have collaborated ever since. Through their career B&B have produced and created art ranging from large-scale installations to public works, sculptures and film projects. Often with a conceptual edge, the core of their work is placed right in the junction between humanity, nature and technology. With energetic curiosity their art investigate scientific and social topics discussed in contemporary society.