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Fahd's photography first focused on spontaneous gestures, and today addresses the difference between staged and spontaneous images. She also asks questions about why people pose for photographs. Some of her work humorously addresses the concepts of identity, race, appearance and concealment.<ref>{{Cite web|last=Fahd|first=Cherine|date=14 February 2021|title=The National, New Australian Art|url=https://www.the-national.com.au/artists/cherine-fahd/apokryphos/|url-status=live|archive-url=|archive-date=|access-date=2021-02-14|website=The National, New Australian Art|language=en}}</ref><blockquote>"I am interested in the way photography, in terms of portraiture, presents an appearance, how we appear to others. This appearance is a signifier of so many things such as race for example. This in and of itself points to photography’s history as a tool used to classify people."<ref name=":0" />
Fahd's photography first focused on spontaneous gestures, and today addresses the difference between staged and spontaneous images. She also asks questions about why people pose for photographs. Some of her work humorously addresses the concepts of identity, race, appearance and concealment.<ref>{{Cite web|last=Fahd|first=Cherine|date=14 February 2021|title=The National, New Australian Art|url=https://www.the-national.com.au/artists/cherine-fahd/apokryphos/|url-status=live|archive-url=|archive-date=|access-date=2021-02-14|website=The National, New Australian Art|language=en}}</ref><blockquote>"I am interested in the way photography, in terms of portraiture, presents an appearance, how we appear to others. This appearance is a signifier of so many things such as race for example. This in and of itself points to photography’s history as a tool used to classify people."<ref name=":0" />


''"''I like to find images that tell a story, difficult stories that are perhaps so private they don’t usually enter the public realm. Often, in interrogating the archive I find ways to intervene into the existing photographs either through digital manipulation or through text."<ref name=":0" /></blockquote>Fahd has often worked in series. One of her first was about noses. The subjects' noses were wrapped in bandages as if they had had nose surgery. (edit to come)
''"''I like to find images that tell a story, difficult stories that are perhaps so private they don’t usually enter the public realm. Often, in interrogating the archive I find ways to intervene into the existing photographs either through digital manipulation or through text."<ref name=":0" /></blockquote>Fahd has often worked in series. One of her first was about noses. The subjects' noses were wrapped in bandages as if they had had nose surgery.<ref>{{Cite web|date=2016-11-03|title=Cherine Fahd: Operation Nose Nose Operation|url=http://www.4a.com.au/cherine-fahd-operation-nose/|access-date=2021-02-14|website=4A Centre for Contemporary Asian Art}}</ref>


== Publications ==
== Publications ==

Revision as of 18:25, 14 February 2021

Cherine Fahd is an Australian artist who works in photography and video performance. She is also the director of photography at the University of Technology, Sydney, Australia and has published in academic journals, photographic and art publications and in news and media. Her work has been exhibited in Australia, as well as in Israel, Greece and Japan. She has been the recipient of numerous grants, and has been awarded residencies in India and in Sydney at the Carriageworks.[1][2]

Early life and education

Fahd was born in Sydney Australia in 1974.[3] Her grandfather and his brothers had migrated from Lebanon in the 1950s.[4] At age 11 her teacher took her class to an exhibition at the Art Gallery of New South Wales. Fahd says that from then on, her focus was on art and she often faked a dentist appointment to skip school and go to the gallery.[4]

She studied at the College of Fine Arts at the University of New South Wales (now the UNSW Art and Design) and received her Bachelor of Arts degree in 1996. She originally studied painting, but after art school turned to photography to capture moments and actions. She became active in the 1990s.[3]

In 2003 Fahd completed a Masters Degree of Fine Arts at the University of New South Wales College of Fine Arts, still in the field of painting. before photography became her full focus.[3][5]

She was awarded a PhD from Monash University in 2016 and is an academic at the University of Technology (UTS), Sydney.[3]

Fahd continues to work in Sydney, in a studio in the backyard, shared by her artist husband, children and even a dog.[5]

Works

Fahd's photography first focused on spontaneous gestures, and today addresses the difference between staged and spontaneous images. She also asks questions about why people pose for photographs. Some of her work humorously addresses the concepts of identity, race, appearance and concealment.[6]

"I am interested in the way photography, in terms of portraiture, presents an appearance, how we appear to others. This appearance is a signifier of so many things such as race for example. This in and of itself points to photography’s history as a tool used to classify people."[5] "I like to find images that tell a story, difficult stories that are perhaps so private they don’t usually enter the public realm. Often, in interrogating the archive I find ways to intervene into the existing photographs either through digital manipulation or through text."[5]

Fahd has often worked in series. One of her first was about noses. The subjects' noses were wrapped in bandages as if they had had nose surgery.[7]

Publications

Fahd has had two books published of her work by M.33 Melbourne, A Portrait is a Puzzle (2017) and Apókryphos (2019) which won the Australia New Zealand Photobook Award.[8]

Her writing has been published on The Conversation, ABC News and SBS and academic journals.[8]

Grants and awards

Collections

  • Haifa Museum of Art, Israel[1]
  • Museum of Photographic Arts, San Diego, California[1]
  • National Gallery of Australia[13]
  • National Gallery of Victoria[14]

References

  1. ^ a b c d e f g h i "Associate Professor Cherine Fahd". University of Technology, Sydney. Retrieved 2021-02-12.{{cite web}}: CS1 maint: url-status (link)
  2. ^ "How you can get in on the action at the Opera House's Antidote festival". Australian Financial Review. 2020-11-27. Retrieved 2021-02-12.
  3. ^ a b c d "Know My Name". nga.gov.au. Retrieved 2021-02-13.
  4. ^ a b "The art that made me: Cherine Fahd". www.artgallery.nsw.gov.au. Retrieved 2021-02-14.
  5. ^ a b c d Joyce, Rebecca (2018-12-04). "Cherine Fahd". Asialink. Retrieved 2021-02-14.
  6. ^ Fahd, Cherine (14 February 2021). "The National, New Australian Art". The National, New Australian Art. Retrieved 2021-02-14.{{cite web}}: CS1 maint: url-status (link)
  7. ^ "Cherine Fahd: Operation Nose Nose Operation". 4A Centre for Contemporary Asian Art. 2016-11-03. Retrieved 2021-02-14.
  8. ^ a b Do, Michael (14 February 2021). "Proxy Thousand Eyes" (PDF). Sydney Opera House. Retrieved 14 February 2021.{{cite web}}: CS1 maint: url-status (link)
  9. ^ "Site search: Moya Dyring Studio :: Art Gallery NSW". www.artgallery.nsw.gov.au. Retrieved 2021-02-12.
  10. ^ Council, Albury City (2016-01-15). "MAMA Art Foundation". Murray Art Museum Albury. Retrieved 2021-02-12.
  11. ^ Joyce, Rebecca (2019-02-07). "2018". Asialink. Retrieved 2021-02-13.
  12. ^ "Artists | The National". www.the-national.com.au. Retrieved 2021-02-12.
  13. ^ "NGA collection search results". artsearch.nga.gov.au. Retrieved 2021-02-13.
  14. ^ "Cherine Fahd | Search Results | NGV". www.ngv.vic.gov.au. Retrieved 2021-02-13.
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