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Carol Inez CharneySPL 6
About the Item
Represented by George Billis Gallery, NYC & LA -- Charney writes of her process: “For many years, I'd been trying to combine painting and photography with very contrived results. One day, however, I looked through a window completely covered in condensation and realized that I could use the camera to reinterpret the world around me as a painting. It was a revelation.”
With this as her starting point, Charney photographs contemporary architecture and distills it down to a series of compositional planes, which become the basis of the final image. This composition is then obscured by placing it behind a sheet of glass that has been painted with water, thus combining painterly abstraction and photographic realism to create her own visual vocabulary of abstracted photography. Ranging in size from 30 x 30 inches to large scale 48 x 48 inches, these vibrantly hued images are painterly and ethereal.
Carol Inez Charney received her BA in painting from the University of Santa Cruz and her MFA in photography from San Jose State University and has exhibited extensively on the West Coast and in New York. She currently lives and works in San Francisco.
*First image is the listed piece, the following three images are examples of the mounting style
Colors: Blue, Grey, White, Ice, Red
- Creator:Carol Inez Charney (American)
- Dimensions:Height: 40 in (101.6 cm)Width: 40 in (101.6 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Fairfield, CT
- Reference Number:1stDibs: LU18321287003
Carol Inez Charney
"In 2013, I first saw Carol Inez Charney’s striking semi-abstract photographs depicting details of modernist architecture partially obscured by and refracted by water. These large photographs, printed on aluminum, and unframed, were photographic, naturally, but also painterly, with the streams of water that seemingly flowed down an invisible, interposed glass pane both breaking up the image and reassembling it into painterly abstractions reminiscent of the works by Pollock, Still, Rauschenberg, Johns and others that had fascinated Charney as a student, launching her art career. "In her latest body of work, After Painting, from 2016, Charney focuses completely on culture, i.e., universally beloved paintings by Leonardo, Van Eyck, Van Gogh, Monet, Matisse, Chagall and Picasso, all made before 1923, and now in the public domain. Using high-quality reproductions, Charney rephotographs details from the works and groups them in twos and threes—into diptychs or triptychs, to employ the art-historical term used for multi-panel paintings. The ‘After’ designation refers to the art-historian’s way of labeling copies of old artworks made by admiring younger artists, a common practice before the advent of photography, and a way of paying homage to and learning from the past: Van Gogh copied Rubens, and Rubens copied Leonardo, and so on. Sometimes this hands-on method of assimilation resulted in creative variations, like Picasso’s innumerable Velasquez variations, or Manet’s quotations (or parodies) of Giorgione and Titian. "Charney’s gradual shift of interest from the natural world to the world of visual culture is not unique in our postmodernist age, which looks at and to cultural production in the way that past artists looked at and to nature. If collage was the core of modernist art, appropriation, the quotation or sampling of previous art, could be said to be postmodernism’s. Sherrie Levine in her 1980s After Walker Evans photographs rephotographed the great social documentarian’s photos of the 1930s. Cindy Sherman’s faux movie stills, with the photographer costumed and made up to resemble archetypal movie heroines, but from movies never made, are another example of art deriving from other art. "Charney’s creative reuse of master paintings, however, reflects none of the postmodernist questioning of originality cited above. With degrees in both painting and photography, Charney is an admitted “frustrated painter” who found photography more congenial than painting, but still seeks the complex ‘conversation,’ or moment’ provided by the slower, handmade medium. In Charney’s carefully assembled diptychs and triptychs, we see iconic modernist paintings anew, through the artist’s curtain of rivulets, enriched by water’s metaphorical associations with time, change, metamorphosis and the unconscious. A century ago, Marcel Duchamp mocked what he considered at the time the connoisseur’s fetishistic interest in the painter’s hand and touch; Charney’s photographic studies, which “reinterpret classical painting,” let us revel in that handiwork, made invisible to us through familiarity, perhaps, through her sharp eye and lens. —DeWitt Cheng
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