Marc Yankus

Where Stella Lives

2007

Layered laser cut dye sublimation prints on aluminum (Edition of 3 + 2 APs) Signed and numbered on label, verso From the series "Dream Date" This artwork is offered by ClampArt, loc...

Layered laser cut dye sublimation prints on aluminum (Edition of 3 + 2 APs) Signed and numbered on label, verso From the series "Dream Date" This artwork is offered by ClampArt, loc...

Layered laser cut dye sublimation prints on aluminum (Edition of 3 + 2 APs) Signed and numbered on label, verso From the series "Dream Date" This artwork is offered by ClampArt, loc...

Layered laser cut dye sublimation prints on aluminum (Edition of 3 + 2 APs) Signed and numbered on label, verso From the series "Dream Date" This artwork is offered by ClampArt, loc...

Archival Pigment Print Artifacts of homesteading era, Nebraska All available sizes & editions for each size of this photograph: 40" x 30” - Edition of 5 + 2 Artist Proofs 50" X 40"...

Archival Pigment Print Russia All available sizes & editions for each size of this photograph: 30" x 40” - Edition of 5 + 2 Artist Proofs 40" X 50"- Edition of 5 + 2 Artist Proofs ...

Reviewing the photographs of Julie Blackmon, critic Leah Ollman of the Los Angeles Times wrote: “Each frame is an absorbing, meticulously orchestrated slice of ethnographic theater … that abounds with tender humor but also shrewdly subtle satire.” Blackmon is a native of Springfield, MO, and her photographs are inspired by her experience of growing up the oldest of nine children—including five sisters—in what she calls “a generic American town in the middle of the U.S.” In college, Blackmon was introduced to the work of artists Sally Mann, Diane Arbus, and Helen Levitt, and she describes herself as “obsessed” with their images. “When my three children were small,” she recalls, “we moved into an old house with a darkroom in the basement. Like any mother, I wanted to take pictures of my kids. But I didn’t want to be just the ‘mother photographer.’ I wanted my work to be more: more penetrating, more artful, more striking, more thoughtful, more a reflection of the times. “Over the next few years, I progressed from making documentary black and white photographs of my life and the lives of my sisters to creating colorful, fictitious images that offered a more fantastical look at everyday life. My work became more conceptual, as I began to realize that I was not obligated to capture “reality” exactly, but that I could work more like a painter or a filmmaker, actively shaping the images I was creating. This realization—that fiction can often capture the truth more memorably than reality—was a major shift in how I saw the world around me, and it transformed my work.” “It’s thrilling to see the most common aspects of everyday life as potential stories or themes for a photograph. It changes how you see things: suddenly, a Starbucks employee on a smoke break, or an outmoded beauty shop catering to an elderly clientele, can spark a memorable image. As Nora Ephron...

Slide by Julie Blackmon is from an ongoing series titled Home Grown According to the Los Angeles Times, Blackmon's images are “absorbing, meticulously orchestrated slices of ethnogr...