가입을 원하시는 분은 메일을 주시기 바랍니다. zabellocq@empal.com
     자물쇠
     nZ
     eZ


  (2006-10-27 21:11:33, Hit : 911, Vote : 172
 http://gelatinemotel.byus.net/main
 Anne Arden McDonald 사진

(
'.
얼마전 감동먹은 우드먼 효과탓인지 근자엔 이런 사진쪽으로 거의 올인하게 되더라는.   형식이 얼마나 작업에 있어 무용할 수도 있다는 것을 실증해 보이는 이미지.
.'
)
  + + +






















































The images of English photographer Anne Arden McDonald (born in London in 1966, but raised in Atlanta, Georgia) would seem a continuation of those of Ralph Eugene Meatyard, the founding father of American 뱕isionary?photography with the ability to transform a simple, empty room into a universe laced with subtle anxiety. In fact, McDonald also exhibits the desire to affirm that the photographic instant is not so much that of the present to be documented or recorded, but rather the opening of a passage, a space that extends the image in time and opens the work to the viewer뭩 imagination.
A multi-faceted artist with the ability to range from sculpture to experimentation using a Diana plastic camera, Anne Arden McDonald (with more than thirty personal exhibitions in ten different countries to her credit) has chosen to title her latest book Installations and Self-Portraits (New York, Autonomy and Alchemy Press, 2004), almost as a programmatic statement and in order to extinguish those evocative and, to a certain extent romantic, aspects that emerge in all her photographs.
Her work always starts from a study of place. A dusty old house whose interior may be falling to pieces with warped floorboards and chipped paint. An abandoned greenhouse crammed with dead, dried-up plants. A lone field in winter. A semi-dilapidated barn. A dense forest. A bay lapped by waves. But these places (as is also the case in the works of Francesca Woodman and Ralph Eugene Meatyard) are not the true object of what is being looked at. They are not what is being examined and shown. They are, rather, spaces that are transformed by her presence and her minimal installations. In fact, each image is based on a profound psychological relationship between her and the world. Bays and forests, houses in ruins or abandoned spaces are never simply backgrounds for the setting of an installation or for organizing an action. Instead, they act as elements in a subtle dialogue. As she herself says, 뱈y images are connected to sculpture and the installation in the sense that I alter the spaces, and to theater and performance because I put on stage a potential of myself. They are also closely related to spirituality and psychology because뾣or me뾲hey involve an introspective examination and look for fundamental questions and answers.?nbsp;
But the places she chooses, where she wanders about alone creating true solitary performances without any kind of help, are never banally modified starting from a pre-arranged project. On the contrary, each of her gestures, each of her interventions, seem to bring together and exalt the spirit of the places, bringing them alive and imbuing them with magic.
밪taged photography is born out of boredom or dissatisfaction with the world around you ?a need to see the world as a place of limitless freedom where anything is possible ?you look around you and see what is missing and you build it, create it ?giving the world more meaning, more beauty, and more play,?McDonald writes in her book. 밒뭢 interested in the openness. I뭢 not interested in coming to a place and conquering it. I뭢 interested in seeing what else I can learn there.?I go to a place and that place has a mood and I have mood and I open myself up to the place and we mix and what comes out of it is never just me or just the place, it뭩 something in between ?it뭩 a dialogue.?br> She needs to be by herself to listen to these places as well as herself, to get into their folds, to perceive their moods, listen to their breathing, their suffering, their murmuring. Like an enchantress, her body brings the places to life, opens them up to hidden waves of narration, of suffused agitation that accompanies us from photograph to photograph. Everything seems immersed in a dream-related silence, in a sense of time that is dilated and fluid and at the same time mysterious and suspended. Each image is a micro-story comprised of unlikely and somewhat magical events that lead on to other potential stories and narrative threads linked to our own dreams, hidden fantasies and innermost anxieties.
Her self-portraits are never narcissistic. They are not about her, her life or her problems. She gives herself over to these places and uses her body as a sort of viaticum that guides us towards a mysterious journey within these places and within ourselves. In one photograph we see her with her back to us as if held and restrained by long metal wires that from the walls of a deserted room reach her neck and immobilize her. In another we see her in meditation, surrounded by a circle of fire that isolates her within an old, dilapidated barn. In yet another we see her running like a shadow or ghost in a lonely wood. Her visual register shifts and fluctuates from festive to dreamy, anguish-laden or holy, while nonetheless maintaining a common atmosphere of suspension as well as formal coherence. All her photographs are united by an intense and intimate visual poetry and by the oneiric ability to draw us into a sort of present-that-is-somewhere else, into the uncertain territory of emotions, recollections and memories. The ruined walls of her rooms and barns become emblematic of a dilated sense of time and they seem to damage the sense of security of our own inner ego. The forests become places interwoven with dark, yet dream-like legends.
That the innermost purpose of her experimentation is to look at the world anew through eyes capable of listening can also be seen in her most recent works taken using a Diana camera and also on-view in her recent exhibition 밊rom Earth to Sky?at the non-profit space O?Artoteca in Milan. She does not appear in these. She does not create either performances or installations. She limits herself to photographing fragments of objects, faces and landscapes. And yet, thanks to velvety prints with depth, she succeeds once again in transforming her images into something mysterious and secret. It is as if these fragments had become a sort of collection of memories and recollections emerging from the distant past. It is as if the photographed objects had maintained their datability as things, while at the same time opening up to another life pervaded by dreams, drenched in silence and suspended in some mysterious time.
Far-removed from the bustling, everyday world, and loaded with an almost arcane presence, her photographs invite us to close our eyes and let them settle within us to enter into our emotional consciousness.

by Gigliola Foschi

All images ?nbsp;Anne Arden McDonald.
?nbsp;Editrice Progresso. 2006
All rights reserved.








604   CHRISTIAN BOLTANSKI - text   2006/12/08 1592 256
603   Roger ballen 사진   2006/12/08 845 204
602   american apparel   2006/12/04 954 220
601   [graffiti] 텍사스주 산 마르코스에 살고 있...   2006/12/04 864 223
600   yuki onodera 사진 [1]   2006/11/16 992 188
599   박형근/이강우 사진 [2]   2006/11/15 973 211
598   [기사] 김정원 그림 [4]   2006/11/12 1041 320
597   [기사]죽기 전에 꼭 싸야할..   2006/11/02 1077 322
  Anne Arden McDonald 사진   2006/10/27 911 172
595   Mario Beltrambini 사진   2006/10/27 1271 192
594   [비평] 아라키와 최봉림 [2]   2006/10/24 1058 312
593   [동영상]We have decided not to die...   2006/10/03 1300 531
592   [기사]박상희   2006/10/01 983 310
591   [펌] 백남준 인터뷰   2006/09/27 854 202
590   David Levinthal   2006/08/29 984 197
589   [text] 함진 신작   2006/08/24 1104 326
588   [인터뷰] 이경률論   2006/08/21 884 179

[1][2][3][4] 5 [6][7][8][9][10]..[40] [다음 10개]
 

Copyright 1999-2024 Zeroboard / skin by zero
home>