Mark Beard

Tennessee Williams (Polaroid Transfer of American Playwright his Reflection)

1991

Circular color photograph of figures in a white landscape with red and white tulips Archival pigment print, ed. of 5 10 inch diameter image on 22 x 17 inch archival paper Made to order, unframed This circular photograph...

Circular color photograph a red mythical figure in an icy Arctic landscape Archival pigment print, ed. of 5 10 inch diameter image on 22 x 17 inc...

image size: 10 x 8 inches Young male sitting against dark background Polaroid Transfer on 22 x 15 inch Rives BFK paper, unframed signed SM Beard in pencil on bottom right corner. ed...

Figurative, Polaroid transfer of a young boy in vintage cowboy costume against an orange background PT 25, Made in 1998 Edition 1 of 6 9 x 7 in...

Daisy in front of Trailer (Till Death do Us Part) - 2005 Edition 4/5, 48 x 47 cm. Analog C-Print, printed on Fuji Crystal Archive Paper, hand-printed by the artist, based on the Polaroid. Artist inventory 9250. Signature label and certificate. Not mounted. This Edition comes with the vinyl soundtrack of "Till Death Do Us Part" (directed by Stefanie Schneider), music by Daisy McCrackin. Stefanie Schneider’s Till Death Do Us Part or “There is Only the Desert for You.” BY DREW HAMMOND Stefanie Schneider’s Till Death to Us Part is a love narrative that comprises three elements: 1. A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting images rephotographed (by other means) enlarged and printed in such a way as to generate further distortions of the image. 2. Dated Super 8 film footage without a sound track and developed by the artist. 3. Recorded off-screen narration of texts written by the actors or photographic subjects, and selected by the artist. At the outset, this method presupposes a tension between still and moving image; between the conventions about the juxtaposition of such images in a moving image presentation; and, and a further tension between the work’s juxtaposition of sound and image, and the conventional relationship between sound and image that occurs in the majority of films. But Till Death Do Us Part also conduces to an implied synthesis of still and moving image by the manner in which the artist edits or cuts the work. First, she imposes a rigorous criterion of selection, whether to render a section as a still or moving image. The predominance of still images is neither an arbitrary residue of her background as a still photographer—in fact she has years of background in film projects; nor is it a capricious reaction against moving picture convention that demands more moving images than stills. Instead, the number of still images has a direct thematic relation to the fabric of the love story in the following sense. Stills, by definition, have a very different relationship to time than do moving images. The unedited moving shot occurs in real-time, and the edited moving shot, despite its artificial rendering of time, all too often affords the viewer an even greater illusion of experiencing reality as it unfolds. It is self-evident that moving images overtly mimic the temporal dynamic of reality. Frozen in time—at least overtly—still photographic images pose a radical tension with real time. This tension is all the more heightened by their “real” content, by the recording aspect of their constitution. But precisely because they seem to suspend time, they more naturally evoke a sense of the past and of its inherent nostalgia. In this way, they are often more readily evocative of other states of experience of the real, if we properly include in the real our own experience of the past through memory, and its inherent emotions. This attribute of stills is the real criterion of their selection in Til Death...

White Trash Beautiful I (29 Palms, CA) featuring Radha Mitchell - 1999 128x125cm, Edition 3/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based o...

A Vision you can't Capture (29 Palms, CA) - 2007, Edition 1/5, 125x150 cm each, 3 pieces, installed 125x470cm. 3 Analog C-Prints printed on Fuji Archive Paper, hand-printed by th...

Flying Boy (Stay) - from Ryan Gosling's memory sequence - 2006 58x56cm, Edition of 5, plus 2 Artist Proofs. Analog C-Print, hand printed by the artist on Fuji Archive Crystal Pape...