…on presentation of Selfie Series Image from audio
- Will it ever exists as a Digital Photograph?
- Our attraction to the human face is endless
- Lighting and Expression is incredibly engaging
- Authentic presentation of self
- Authenticity of materials – what the feeling that one will ascribe to the express; which is very enigmatic and could range from confusion, anger, arrogance remains authentic, one feels as if it is being felt by her truly
- It is no an assumed, manufactured expression, whether or not she’s acting
- Human endeavour
- Quantity is quality? – size is immaterial (never bigger than A4)
- The Act of making the mark and in turn the amount of time spent with it
- There are at lot of similarities between Fleurs and my own prat but my work has a particular goal of representing this particular image
- ***Amy Adler
- Always drew from photographs
- Photographs the drawings and then destroyed the original drawings and exhibited the drawings online; back to the idea of the emphasis of process over outcome
- Its always process and subverts the traditional idea of the original and access to it
- Mostly always drawings about women
- Attempt/Trying to figure out a sense of identity
- The moment between photography and Mark-Making
- Engagement with lighting
- This kind of portraiture, whether photographic or with drawings always remains about identity, and who we (actually) are and that detail is so much about the access to visual detail mimicking our access to internal detail
- How we are programmed to find faces – PATTERN RECOGNITION (survival instinct)
- (Adler) plays with context? Where am I?
- online ‘portraits’ in comparison
- History of portraiture – normally representing the preserve of the heroic and the presentation/elevation of the individual and nowadays is such a different world in that portraiture does not have the role so much, and yet it still it remains such a part of our presentation of self, celebrity etc.
- Have I worked with reproduction before? What are the ways to reproduce my work?
Amy Adler
https://en.wikipedia.org/wiki/Amy_Adler
official website
Amy Adler is an American artist who lives and works in Los Angeles. She works in multiple mediums, using photography, film and drawing. She is currently a Professor of Visual Art at the University of California, San Diego.
Works
Adler’s photographs are shot from her own drawings. In the 1990s, she developed a translation process, from photography to drawing back to photography. The final product, a unique photographic print of the drawing, became the original. The original drawings for the photographs, were destroyed. This is to be understood as a production process that puts the notions of authenticity and original in question and expanded.
In 2006, Adler inverted this process and now displays the original drawings, but always in relation to the intervention of media. For example, in her oil pastel drawings entitled, Location, from 2014, she uses location shots as source material for her drawings.
In her drawings and photographs, Amy Adler has always worked intensively with the medium of film. During her study of Cinematic Arts at USC from 2009-2012 she began making her own films, creating the six-minute film Ready for Love about the life of porn star Skye Blue. In 2012 she directed the 26-minute documentary Mein Schloss
Nervous Character, 1999 (24) ;
UNIQUE CIBACHROME PRINTS 24″X 30″
installation view
A Women of No Importance, 2002
UNIQUE CIBACHROME PRINT 20″ X 30″
Part of a Series: 2001 (6) UNIQUE CIBACHROME PRINTS
PHOTOGRAPHS LEONARDO DICAPRIO
installation view
Once in Love with Amy, 1997;
UNIQUE CIBACHROME PRINTS
Director, 2006 (12);
PASTEL ON CANVAS 50″ X 60″
installation view
http://www.artinamericamagazine.com/reviews/amy-adler/
Amy’s use of process really interest me. Much like my won work, she actively grapples with ideas of originality and copying as she integrates this into her work as a vital outcome. Not only is her oeuvre portraiture based, but her work shifts through a real investigation of the ‘notion of self’ as we see another (informal) side to the sitter, often in very unstructured, unposed depictions.
Her work mitigating the realism of the original photography, whilst she has her own personal style that really expounds her drawing technique as well as the connotations of the original works of art.