Tracey Snelling: Difference between revisions
fixes (some of this was factually incorrect) |
language typos current exhibit |
||
| Line 38: | Line 38: | ||
==Career== |
==Career== |
||
After her graduation, Snelling worked primarily as a photographer and collage artist. She continued to experiment with photography, painting over images of everyday life and tearing negatives to create surreal images. Her collage photograph ''1881 Chestnut Street,'' an elaborate 2-D |
After her graduation, Snelling worked primarily as a photographer and collage artist. She continued to experiment with photography, painting over images of everyday life and tearing negatives to create surreal images. Her collage photograph ''1881 Chestnut Street,'' an elaborate 2-D representation of a New York brownstone created from snippets of 1940s-era ''[[Life (magazine)|LIFE]]'' magazines, inspired her first series of building-type sculptures.<ref name="East Bay x" /> |
||
In 2005, she created ''El Mirador,'' a small scale sculpture of an adobe hotel with six windows. A DVD player behind the piece showed a montage of film clips, synced so that the characters appeared to be interacting with one another. The original ''El Mirador'' was twenty inches tall; Snelling |
In 2005, she created ''El Mirador,'' a small scale sculpture of an adobe hotel with six windows. A DVD player behind the piece showed a montage of film clips, synced so that the characters appeared to be interacting with one another. The original ''El Mirador'' was twenty inches tall; Snelling subsequently made a six-and-a-half foot tall version of the piece ("Big El Mirador") to show at a solo exhibition in London <ref name="artnews">{{cite news|title=Tracey Snelling: Dulces Opens in London|url=http://artdaily.com/index.asp?int_sec=11&int_new=19698&int_modo=2#.WOkPP9LyvIU|accessdate=8 April 2017|work=Art Daily|date=April 30, 2007}}</ref> and later at [[Sundance Film Festival|Sundance]] and the Oakland Underground Film Festival. <ref name="East Bay x">{{cite news|last1=Swan|first1=Rachel|title=Tracey Snelling's Bordertown Romance|url=http://www.eastbayexpress.com/oakland/tracey-snellings-bordertown-romance/Content?oid=1939731|accessdate=31 March 2017|work=East Bay Express|date=July 21, 2010}}</ref><ref name="Spark">{{cite news|title=Spark: Tracey Snelling|url=https://ww2.kqed.org/spark/tracey-snelling/|accessdate=31 March 2017|work=KQED|date=August 4, 2006}}</ref> In a review of ''El Mirador'' as it was exhibited during [[Art Basel]] in 2006, the ''[[Miami New Times]]'' wrote: "Snelling's voyeuristic work exudes a surreal vibe dripping with poignant haplessness. It plays with the viewer's desire to engage in the emotional mix of the strangers they are intruding upon, as if challenging one not to find seduction in people or things that are broken."<ref name="new times art basel" /> |
||
Snelling originally used found footage for her video work. In 2008, she created a large-scale installation, ''Woman on the Run,'' commissioned by [[Selfridges]], shooting original footage for the video elements. She and her friends appeared as the characters in the installation, shooting original footage |
Snelling originally used found footage for her video work. In 2008, she created a large-scale installation, ''Woman on the Run,'' commissioned by [[Selfridges]], shooting original footage for the video elements. She and her friends appeared as the characters in the installation, shooting original footage. Snelling and her co-producer, Idan Levin, collaborated on adding new elements to the installation each time it's shown. ''Woman on the Run'' traveled to five different museums in the US, following the debut in London. <ref name="art pulse">{{cite news|last1=Leyva-Pérez|first1=Irina|title=Tracey Snelling: An Urban Narrative|url=http://artpulsemagazine.com/tracey-snelling-an-urban-narrative|accessdate=31 March 2017|work=ArtPulse|date=February 1, 2013}}</ref> Snelling worked with Levin again in 2015 on ''The Stranger,'' a 4:42 minute film which explored belonging and identity. The film included two narrated poems, one in English and Spanish and the other in Hebrew and Arabic, with concurrent subtitles below. <ref>{{cite web|last1=UICA|title=ArtPrize artist investigates world’s poor, social issues, strength|url=https://cultured.gr/artprize-artist-investigates-worlds-poor-social-issues-strength-a1b2fb0e2c72|website=cultured.gr|publisher=Cultured|accessdate=31 March 2017}}</ref> |
||
Snelling's 2013 work included ''Mystery Hour.'' It used large-scale posters and elaborate architectural models to create "archetypal worlds from middle- and lowbrow genre films" to "depict imaginary B movies whose premises are as facetious as they are seductively lurid." ''[[ArtForum]]'' described ''Mystery Hour'' as "mesmerizing, sinister." <ref name="Art Forum">{{cite news|last1=Westin|first1=Monica|title=Picks: San Francisco Tracey Snelling|url=https://www.artforum.com/picks/id=44840|accessdate=31 March 2017|work=ArtForum|date=December 19, 2013}}</ref> |
Snelling's 2013 work included ''Mystery Hour.'' It used large-scale posters and elaborate architectural models to create "archetypal worlds from middle- and lowbrow genre films" to "depict imaginary B movies whose premises are as facetious as they are seductively lurid." ''[[ArtForum]]'' described ''Mystery Hour'' as "mesmerizing, sinister." <ref name="Art Forum">{{cite news|last1=Westin|first1=Monica|title=Picks: San Francisco Tracey Snelling|url=https://www.artforum.com/picks/id=44840|accessdate=31 March 2017|work=ArtForum|date=December 19, 2013}}</ref> |
||
| Line 48: | Line 48: | ||
Her multi-media sculptural installation ''One Thousand Shacks'' (2016) conveyed the "precarious individual existence" of people living in extreme poverty. Composed of a 16-foot by 10 foot wall of small-scale shacks, photographs, wire, wood, and other materials were used in each shack to to capture people "living the best they can in excruciating circumstances," portraying her subjects "not as powerless victims, but rather as defiant and hopeful members of humanity."<ref name="Oakland mag">{{cite news|last1=Bean|first1=Kyrsin|title=Tracy Snelling’s Art Contemplates the Precariousness of Suffering|url=http://www.oaklandmagazine.com/Tracy-Snellings-Art-Contemplates-the-Precariousness-of-Suffering/|accessdate=31 March 2017|work=Oakland Magazine|date=August 1, 2016}}</ref> A variation of ''One Thousand Shacks'' titled ''Tenement Rising'' was included in Snelling's ''Naked City'' solo show the gallery Krupic Kersting in Cologne, Germany in late 2016.<ref name="TV">{{cite news|last1=Enrico|first1=V.|title=Tracey Snelling: The Naked City / Krupic Kersting Gallery, Cologne|url=http://vernissage.tv/2016/09/19/tracey-snelling-the-naked-city-krupic-kersting-gallery-cologne/|accessdate=31 March 2017|work=Vernissage TV|date=September 19, 2016}}</ref> |
Her multi-media sculptural installation ''One Thousand Shacks'' (2016) conveyed the "precarious individual existence" of people living in extreme poverty. Composed of a 16-foot by 10 foot wall of small-scale shacks, photographs, wire, wood, and other materials were used in each shack to to capture people "living the best they can in excruciating circumstances," portraying her subjects "not as powerless victims, but rather as defiant and hopeful members of humanity."<ref name="Oakland mag">{{cite news|last1=Bean|first1=Kyrsin|title=Tracy Snelling’s Art Contemplates the Precariousness of Suffering|url=http://www.oaklandmagazine.com/Tracy-Snellings-Art-Contemplates-the-Precariousness-of-Suffering/|accessdate=31 March 2017|work=Oakland Magazine|date=August 1, 2016}}</ref> A variation of ''One Thousand Shacks'' titled ''Tenement Rising'' was included in Snelling's ''Naked City'' solo show the gallery Krupic Kersting in Cologne, Germany in late 2016.<ref name="TV">{{cite news|last1=Enrico|first1=V.|title=Tracey Snelling: The Naked City / Krupic Kersting Gallery, Cologne|url=http://vernissage.tv/2016/09/19/tracey-snelling-the-naked-city-krupic-kersting-gallery-cologne/|accessdate=31 March 2017|work=Vernissage TV|date=September 19, 2016}}</ref> |
||
Snelling has exhibited in international galleries, museums and institutions, including the [[Royal Museums of Fine Arts of Belgium]], [[Royal Palace of Milan|Palazzo Reale]], Milan; [[Museum of Arts and Design]], New York; Kunstmuseem Krefeld, Germany; El Museo de Arte de Banco de la Republica, Bogota; and the Stenersen Museet, Oslo. Her short films have screened at the [[San Francisco International Film Festival]], the [[Thessaloniki International Film Festival]], Circuito Off in Venice, Italy, and the Arquiteturas Film Festival Lisboa in Portugal, among other places.<ref name="TV" /> |
Snelling has exhibited in international galleries, museums and institutions, including the [[Royal Museums of Fine Arts of Belgium]], [[Royal Palace of Milan|Palazzo Reale]], Milan; [[Museum of Arts and Design]], New York; Kunstmuseem Krefeld, Germany; El Museo de Arte de Banco de la Republica, Bogota; and the Stenersen Museet, Oslo. Her short films have screened at the [[San Francisco International Film Festival]], the [[Thessaloniki International Film Festival]], Circuito Off in Venice, Italy, and the Arquiteturas Film Festival Lisboa in Portugal, among other places.<ref name="TV" />Snelling's ''Criminal City,'' a commission for [[Historical Museum, Frankfurt|Historisches Museum Frankfurt]], will open in the fall of 2017. <ref>{{cite news|last1=|first1=|title=Frankfurt = Hauptstadt des Verbrechens?!/|url=https://www.historisches-museum-frankfurt.de|accessdate=April 8, 2017|work=Historisches Museum Frankfurt|date= April 8, 2017}}</ref> |
||
Snelling lives and works in Oakland, California and Berlin, Germany.<ref name="Oakland mag" /> |
Snelling lives and works in Oakland, California and Berlin, Germany.<ref name="Oakland mag" /> |
||
== References == |
== References == |
||
{{Reflist|30em}} |
{{Reflist|30em}} |
||
Revision as of 17:02, 8 April 2017
Tracey Snelling | |
|---|---|
| File:Tracey Snelling Self Portrait.jpg | |
| Born | Tracey Snelling 1970 Oakland, California |
| Nationality | American |
| Alma mater | University of New Mexico |
| Style | Contemporary |
| Children | 2 |
| Awards | 2015 Joan Mitchell Foundation Painters and Sculptors Grant |
Tracey Snelling is an American contemporary artist. Working with sculpture, video, photography and installation, and deriving from sociology, voyeurism and geographical and architectural location, her work gives her impression of a place, its people, and their experience. [1][2]
Early life and education
Snelling was born in Oakland, California. She learned about alternative processes and contemporary artists while attending photography classes in Northern California, and began to experiment with photography. She took several years off to do conservation work with the California Conservation Corps and later attended the University of New Mexico, where she earned a BFA, working as a firefighter with the U.S. Forest Service to finance her education.[3][4]
Career
After her graduation, Snelling worked primarily as a photographer and collage artist. She continued to experiment with photography, painting over images of everyday life and tearing negatives to create surreal images. Her collage photograph 1881 Chestnut Street, an elaborate 2-D representation of a New York brownstone created from snippets of 1940s-era LIFE magazines, inspired her first series of building-type sculptures.[5]
In 2005, she created El Mirador, a small scale sculpture of an adobe hotel with six windows. A DVD player behind the piece showed a montage of film clips, synced so that the characters appeared to be interacting with one another. The original El Mirador was twenty inches tall; Snelling subsequently made a six-and-a-half foot tall version of the piece ("Big El Mirador") to show at a solo exhibition in London [6] and later at Sundance and the Oakland Underground Film Festival. [5][7] In a review of El Mirador as it was exhibited during Art Basel in 2006, the Miami New Times wrote: "Snelling's voyeuristic work exudes a surreal vibe dripping with poignant haplessness. It plays with the viewer's desire to engage in the emotional mix of the strangers they are intruding upon, as if challenging one not to find seduction in people or things that are broken."[2]
Snelling originally used found footage for her video work. In 2008, she created a large-scale installation, Woman on the Run, commissioned by Selfridges, shooting original footage for the video elements. She and her friends appeared as the characters in the installation, shooting original footage. Snelling and her co-producer, Idan Levin, collaborated on adding new elements to the installation each time it's shown. Woman on the Run traveled to five different museums in the US, following the debut in London. [4] Snelling worked with Levin again in 2015 on The Stranger, a 4:42 minute film which explored belonging and identity. The film included two narrated poems, one in English and Spanish and the other in Hebrew and Arabic, with concurrent subtitles below. [8]
Snelling's 2013 work included Mystery Hour. It used large-scale posters and elaborate architectural models to create "archetypal worlds from middle- and lowbrow genre films" to "depict imaginary B movies whose premises are as facetious as they are seductively lurid." ArtForum described Mystery Hour as "mesmerizing, sinister." [9]
Her multi-media sculptural installation One Thousand Shacks (2016) conveyed the "precarious individual existence" of people living in extreme poverty. Composed of a 16-foot by 10 foot wall of small-scale shacks, photographs, wire, wood, and other materials were used in each shack to to capture people "living the best they can in excruciating circumstances," portraying her subjects "not as powerless victims, but rather as defiant and hopeful members of humanity."[10] A variation of One Thousand Shacks titled Tenement Rising was included in Snelling's Naked City solo show the gallery Krupic Kersting in Cologne, Germany in late 2016.[11]
Snelling has exhibited in international galleries, museums and institutions, including the Royal Museums of Fine Arts of Belgium, Palazzo Reale, Milan; Museum of Arts and Design, New York; Kunstmuseem Krefeld, Germany; El Museo de Arte de Banco de la Republica, Bogota; and the Stenersen Museet, Oslo. Her short films have screened at the San Francisco International Film Festival, the Thessaloniki International Film Festival, Circuito Off in Venice, Italy, and the Arquiteturas Film Festival Lisboa in Portugal, among other places.[11]Snelling's Criminal City, a commission for Historisches Museum Frankfurt, will open in the fall of 2017. [12]
Snelling lives and works in Oakland, California and Berlin, Germany.[10]
References
- ^ Farr, Kristin (January 16, 2016). "Tracey Snelling, New Image Art, West Hollywood". Juxtapoz. Retrieved 26 March 2017.
- ^ a b De Jesus, Carlos Suarez (December 28, 2006). "All Politics Is Loco". Miami New Times. Retrieved 31 March 2017.
- ^ Tandy, Katie (November 19, 2015). "Voyeuristic Artist Tracey Snelling Reminds Us To Look Closer". The Establishment. Retrieved 26 March 2017.
- ^ a b Leyva-Pérez, Irina (February 1, 2013). "Tracey Snelling: An Urban Narrative". ArtPulse. Retrieved 31 March 2017.
- ^ a b Swan, Rachel (July 21, 2010). "Tracey Snelling's Bordertown Romance". East Bay Express. Retrieved 31 March 2017.
- ^ "Tracey Snelling: Dulces Opens in London". Art Daily. April 30, 2007. Retrieved 8 April 2017.
- ^ "Spark: Tracey Snelling". KQED. August 4, 2006. Retrieved 31 March 2017.
- ^ UICA. "ArtPrize artist investigates world's poor, social issues, strength". cultured.gr. Cultured. Retrieved 31 March 2017.
- ^ Westin, Monica (December 19, 2013). "Picks: San Francisco Tracey Snelling". ArtForum. Retrieved 31 March 2017.
- ^ a b Bean, Kyrsin (August 1, 2016). "Tracy Snelling's Art Contemplates the Precariousness of Suffering". Oakland Magazine. Retrieved 31 March 2017.
- ^ a b Enrico, V. (September 19, 2016). "Tracey Snelling: The Naked City / Krupic Kersting Gallery, Cologne". Vernissage TV. Retrieved 31 March 2017.
- ^ "Frankfurt = Hauptstadt des Verbrechens?!/". Historisches Museum Frankfurt. April 8, 2017. Retrieved April 8, 2017.