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art; when the artist is the curiosity cabinet - color transparency film

by:Cailong     2019-07-19
art; when the artist is the curiosity cabinet  -  color transparency film
2004 Gary Schneider makes portraits.
But he has a vague idea of what a portrait is and what it means to make a portrait.
On 1980s, he printed photos for South Golding, David wogilovich, Bruce Davidson, Louise Dahl
Wolf and Richard avendon(
He paid special attention to Mr.
Avedon waits for his subjects to lose calm before pressing the shutter. )
Then, on 1987, sir.
Schneider began working with dead photographers to print photos of insects from old glass negatives.
The author is not there. I can explore it myself;
Arthur M, who is at Harvard, said: "I can go with the author . "
This is the Sackler Museum, and the exhibition of his work "Gary Schneider: Portrait" organized by Deborah Martin Kao is now hanging. In 1990, Mr.
Schneider, 49, was born in South Africa and recently found some anonymous people.
The Victorian portrait film of the flea market.
He printed them big and named a set of "la carte ".
Does he really think they are their own?
"It was me who played my part in the dark room," he said . ".
"I am doing the work that may disappear.
He added that the photos were in response to the funding from Sherrie Levine, who filmed the work of a male photographer and made it into his own.
This is for sure. They are his.
He likes to be late.
The portrait of the Victorian era has no "camera face.
First of all, these people have no experience in photography.
Second, the exposure time is too long.
Think about Julia Margaret Cameron, a photographer.
Schneider admitted this obsession.
It took her 8 minutes to expose the wet glass plate of a portrait.
Even with clips to stabilize the head, no subject can keep the camera surface as long.
Advertising inspired by Mr Cameron
Schneider began to make "lasting displays" for his friends and relatives ".
He let them lie flat in the dark.
When the camera shutter was turned on, he explored their face in part with a flashlight for up to 30 minutes.
He said that you have no control over what will happen with such a long exposure.
In 1996, using this technology, he made his best --
Known work by his companion John eldeman, a facial portrait consisting of 16 parts.
"In the end, Sir.
Schneider limited himself to eight of Cameron's.
Minutes exposure and switch to color-
Transparent film
The eyes of Helen, a large portrait, were out of tune. What happened?
"She coughed," he explained.
There are plenty of opportunities, but Sir.
Schneider is still proud of being a master puppet.
"I can light my eyes with a flashlight and let the subjects blink.
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Over time, the idea that plant specimens can be used as portraits gradually permeates his work. In 1992, Mr.
Schneider started to do plant pictures on the 19 th-
Century microscope slide
A year later, he put his hand on the negative, waiting for the lotion to absorb sweat from the palm of his hand and start making photos.
"It's not a picture, it's one of my hands, a sample," he said . ".
From a negative point of view, he made a set of commemorative photos that he manipulated while meditating on the dead: Photographer Peter Hujar, performer Echenberg and Mr.
Mother of Schneider, Mirriam.
The photos turned into very personal monuments, he said.
If that's what you can say, he asked each of his family members to put their hands on the lotion, a more traditional way.
"It's more intimate than facial portraits," he said . "
It's more like shaking hands. Mr.
Schneider made further internal transfers in 1996.
With the help of various scientists, he has harvested his own microscopic biological images: photographs of the retina, hair, sperm and chromosomes.
That's what I feel inside, he said.
The resulting work, "Genetic self
Portrait seems to make a difference in everything Schneider has: it's metaphorical, but it's factual, old
Modern, ordinary, personal.
It came up with the author's idea.
He knew that a scientist had taken this picture, and he did feel the same pain. authorship.
But he said, "This is my job.
The latest progress in these works begins with a rough proposal. In 1999, Mr.
Schneider asked a scientist, "Would you mind seeing my stool in a non-diagnostic way?
When scientists agree.
Schneider began to eat all kinds of bad things. -
Chocolate, blue cheese-
Make things clear.
This picture is the triad of his gut plant, and he returns to the roots of his plant without leaving himself.
Gary Schneider: Sackler Museum, Harvard University, Cambridge, Massachusetts. June 13.
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A version of this article was printed on page 2002030 of the National edition on April 25, 2004 with the title: art;
Being an artist is a curiosity cabinet.
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