Sandy Skoglund October 9th, 2008
Fresh Hybrid © 2008 Sandy Skoglund
Lecture:
Oakland Center Banquet Room, October 9, at 7:30 pm. All are welcome to attend
Born in North Weymouth, Massachusetts Sandy Skoglund studied studio art and art history at Smith College and then went on to graduate school at the University of Iowa where she studied filmmaking, intaglio printmaking, and multimedia art, receiving her M.A. A year later Skoglund received a M.F.A. in painting, also from the University of Iowa.
Moving to New York, she started working conceptually, dealing with repetitive, process-oriented art production through the techniques of mark-making and photocopying. This led to teaching herself photography as it fused with her interest in popular culture and commercial picture making strategies thus defining a practice of creating and exhibiting installations that incorporate live models and performance, which accompany a photograph of them. Her post-apocalyptic installation titled Radioactive Cats has become the defining image of 1980’s tableau photography.
Sandy Skoglund has achieved a leading position in revolutionary photography. Many of her installations have been commissioned by museums and universities around the world, including Revenge of the Goldfish and Radioactive Cats at the 1981 Whitney Biennial Exhibition, A Breeze at Work at Walker Art Center of Minneapolis, Minnesota, Fox Games at The Centre Georges Pompidou in Paris, France, Walking on Eggshells at Smith College, Shimmering Madness at Rutgers University and Breathing Glass at the Museum of Arts and Design in New York to name only a few.
Skoglund’s recent installation/photograph titled Fresh Hybrid, pictured above, is an artificial landscape made from fiber art materials such as pipe cleaners, hand made felt, and wool roving.
Alison Norlen November 5th, 2008
Lecture:
Room 124 Wilson Hall, November 5th, at 4:30 pm. All are welcome to attend
Canadian artist Alison Norlen is known for her large scale drawing and sculpture installations. Alison Norlen's drawings are monumental, Piranesi-like deconstructed probings of the built, structural world. Her zany, tangled landscapes and social spectacles reflect a fascination with cultural artifice and theme sites such as the West Edmonton mall, Disneyland, Universal Studios, Las Vegas, roadside attractions, circus and carnival celebrations. Norlen's obsession with structure, more particularly her use of a dominant colour for each work to set its emotional tone, resembles Anselm Kiefer's monumental paintings of the 1980s. The objects in Norlen's pictorial world are not just physically, but also socially constructed; they take on aspects of the human condition, as in the claustrophobic crowding of objects or their irrational failure to connect in space.
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