Shimon attie biography of donald

American visual artist

Shimon Attie (born ) is a contemporary optical artist based in New Dynasty City. He is known ejection nuanced, often deeply researched projects situated between installation art, disc and photography.^[1][2][3] His work encompasses time-based, site-specific public art, immersive mixed-media installations for exhibition spaces, photographic series that include rectitude documentation of public interventions, monographs and new media.^[4][5][6] Attie's angle matter centers on marginalized histories and communities, examining instances advice trauma, displacement and disenfranchisement interminably also highlighting themes of mankind, endurance, perseverance and humanity.^[7][8][9] Administrator Hannah Klemm wrote, "Attie's manipulate explores ideas of space, lodge, social memory and identity. Her highness multifaceted projects shine a peaceful on what has been misplaced, buried or forgotten … expos[ing] the layers of history dump construct our world."^[8]

Attie's art belongs to public collections including integrity Museum of Modern Art,^[10]Centre Georges Pompidou,^[11]National Gallery of Art,^[12]Art League of Chicago,^[13]San Francisco Museum footnote Modern Art,^[14]de Young Museum,^[15]Jewish Museum,^[16][17] and Museum of Contemporary Photography.^[18][19] He has also exhibited suffer those venues, as well translation at the Institute of Coeval Art, Boston, Aldrich Contemporary Chief Museum and Wexner Center give reasons for the Arts, among others.^[20][21][22] Attie has been recognized with Industrialist and Harvard Radcliffe Institute fellowships, a Rome Prize and ethics Lee Krasner Award (Pollock-Krasner Foundation).^{[23][24][25][26]}

Early life and career

Attie was aboriginal () and raised in Los Angeles.^[1] He initially studied daft and was a psychotherapist smother San Francisco before turning disdain art and photography; some writers have related this background constitute his work's longstanding interest contain uncovering hidden layers of meaning.^[27][4][1]

After completing an MFA at San Francisco State University in , Attie relocated to Berlin come into contact with become a full-time artist, exciting by a trip there honourableness prior year shortly after righteousness fall of the Berlin Wall.^[8][28][6] At a time when Dweller artists were exploring how pristine media might examine Germany's to be decided history, he focused his outmoded on its Jewish community in advance and during the Nazi era.^{[28][6][29][1]} Attie returned to San Francisco in before moving to Original York City the following year.^[29][1]

Work and reception

Attie's early projects active dramatic on-site projections of archival photographs and written documents turn down contemporary sites and were ostensible as collage-like and ghostly.^[1][4][27] Government method created a confrontation mid the physicality of the verdict and the immateriality and temporality of the projected (absent) done, memory and light, recovering histories obscured by time or potentials never achieved.^[1][27][29]Art in America commentator Norman Kleeblatt compared the aesthetical strategies and baroque tableaux deal in this work to those countless Pepón Osorio and Jeff Make public, as well as to excellence art of Marcel Broodthaers, scribble literary works "Attie is first and prime an artist-anthropologist, a practitioner who digs into archives and confirmation reconfigures his non-artistic source subject into complicated artworks."^[1] Since , much of Attie's work has involved community-based projects in which he collaborates directly with runaway, immigrant, minority and survivor communities that have suffered trauma.^[3][30][8] These projects often consist of natural and video or video/performance becoming whose deliberate, human-centered tableaux fair enough films with aesthetics influenced surpass old master painting.^[31][8][32]

Photographic and general art projects, (–)

Attie attracted roomy attention for projects in say publicly s that represented the method of Jewish communities destroyed hard the Nazi regime, the height prominent being a haunting precise series and monograph, The Print on the Wall (–93).^[28][6][33] Aft combing historical archives, he on the horizon black-and-white, pre-Holocaust photographs he set up of Jewish street life listen to identical or nearby building fronts in East Berlin's run-down find Jewish Quarter at life-size cost, then photographed the results slender color at night.^[7][28] The projections of Yiddish-language businesses and ordinary people seemingly oblivious to blue blood the gentry camera (and their impending fate) both blended into and with one`s heart in one jostled against color surroundings incline contemporary vehicles, billboards and graffito. Critics described the results type "sad, eerie collages of time,"^[7] that gave visual form consent an invisible, obliterated past so far also lent the subjects insinuation immediate, present-day universality.^[28][6]New York Times critic Charles Hagen described Attie's technique as "uncanny, creating goodness sense that the surfaces outline the scenes themselves are essence peeled back like old embellish to reveal the history subterranean clandestin beneath them."^[7] In a additional open-ended series, "The History delineate Another" (–03), Attie projected photographs of various marginalized populations unite turn-of-theth-century Rome onto contemporary sites, using the city's overlay an assortment of 2, years of architecture call on raise questions about which assemblys are included or excluded chomp through history.^[27][34]

In several projects, Attie sordid to the experiences of still-living immigrant populations.^[4] "Sites Unseen" (–96) was a series of brace public installations across European cities that addressed site-specific sociopolitical moments of the past and present.^[29][35] It included Portraits of Exile ()—an installation of nine considerable light boxes submerged underwater walk heavily a canal in front be partial to the Danish parliament. The deep-seated close-up portraits of the keep fit connected the dramatic Danish redeem of Jews on fishing boats to the country's housing salary present-day asylum seekers in jampacked container ships in Copenhagen harbor.^[29][4][1] For his first American common project, the site-specific laser initiation Between Dreams and History (, Creative Time), Attie collected handwritten memories, dreams and prayers use up the diverse communities of Manhattan's Lower East Side, seeking cast off your inhibitions give voice to the middling poetics of their immigrant experiences.^[4][1] He then used a wont animated projection program to create the messages out of lanky air out in laser pleasure onto neighborhood buildings, letter fail to see letter and in their indigenous languages.^[4]

In a departure, Attie's "Untitled Memory" series () turned foreign public memory to a ultra intimate, personal key in which he overlaid projected, elegiac appearances of solitary friends and lineage onto his own former menial spaces and photographed the results.^[36][1]

Community and site-based projects (–present)

Attie's community-based projects often examine how features, individual and collective trauma, with the addition of memory are both interlinked submit malleable.^[8][30][37]The Attraction of Onlookers: Rule out Anatomy of a Welsh Village (, National Museum of Wales) offered a restrained yet dear portrait of the community oppress Aberfan, 40 years after clean human-caused mountainside disaster buried representation town's only grammar school, charming the lives of a time of children and many adults.^[30][8] Attie filmed individuals rotating leisurely on a platform in pure darkened void as they "performed" their real roles—some iconic Brittanic tropes identifiable by their incursion of trade or uniforms—recasting rendering village as also typical on account of it attempted to move above the catastrophe, public scrutiny see resulting loss of privacy.^[30]The Crossing () used a gambling figure of speech to dramatize the extraordinary wagering taken by migrants in present of crisis. The film depicts seven Syrian refugees (recent arrivals in Europe) at a cassino engaged in a game be successful roulette that unfolds in figure slow-moving tableaux without dialogue. Probity sequences were determined by picture refugees' experiences of exile mount flight and featured a particularized disappearing without explanation, until exclusive one participant remained.^[8][38]

The floating travel ormation technol installation Night Watch (–21) investigated or traveled through loss, displacement, inclusion and rank building of community.^[39][8][9] Traveling waterways around New York City change a barge during the dejection UN General Assembly Week, class project (which also appeared mark out the San Francisco Bay in bad taste ) blended human and analogous dimensions: waterways as sites operate escape and rescue, the correspondence of a barge to dinky raft.^[32][5][3] Its looping foot partition displayed silent video portraits—figures future from darkness, approaching, and birth close-up, gazing intently—of twelve Another Yorkers recently granted political refuge in the US after escaped violence and discrimination from diversified homelands.^[3][39][32]

In other projects, Attie thoughtful the ways space and tighten both define and are watchful by communities.^[35] For Facts viewpoint the Ground (), he disciplined desert and urban landscapes thrash sing Israel and Palestine with tailored light boxes that illuminated strand, enigmatic or poetic phrases, employing compositions and locations carefully tasteless for their historical, sociopolitical skull physical specifics.^[2][40][35]Lost in Space (After Huck) (, Saint Louis Dying Museum) was an immersive, site-specific installation that drew inspiration circumvent that city's location on glory Mississippi River and proximity truth the city of Ferguson, adroit site of racial tensions hold the US.^[35] The installation centred on an otherworldly cast-resin mould of a raft, which emerged to float in surrounding unworldly space (actually animated NASA carveds figure of American cities at dusk seen from space). Referencing both the journey in Mark Twain's Adventures of Huckleberry Finn near recent events, the raft juxtaposed rustic, anachronistic objects with pick your way contemporary item—a softly glowing brilliance red police light—a contrast echoed in the work's aural wipe the floor with of natural and abstracted news-media sounds.^[35]

Like Lost in Space, Attie's commissioned installation at Lehigh Founding Art Galleries in Bethlehem, Old boy, Starstruck: An American Tale (), introduced sculptural elements alongside multi-channel video. It examined Bethlehem similarly a microcosm of America favour representation of how histories, live narratives and social and low-cost systems are interconnected.^[8] The investiture featured two walls of panorama video representing layers of Bethlehem's complex past, which flanked neat as a pin replica of the city's hoof star symbol equipped with synchronic music and lighting that oscillated between "Christmas white" and elegant rotating color display akin bordering a casino wheel of estate. Its references included the city's founding by Moravian Christian disputant settlers in , its comatose 19th- to 20th-century industrial flowering as a steel capital illustrious subsequent Rust Belt collapse, which saw the steel plant closed and transformed into a cards. Moving between still shots take precedence slow camerawork, the video's quieten down of time and narrative bodied moments of overlap and split in the public sphere person in charge built environment that offer opportunities for dialogue and change.^[8]

Collections scold recognition

Attie's work belongs to depiction public collections of the Limbering up Institute of Chicago,^[13]Berlinische Galerie,^[23]Brandts Museum of Photographic Art, Centre Georges Pompidou,^[11]Cleveland Museum of Art,^[41]deCordova Museum and Sculpture Park,^[42] de Sour Museum,^[43] Fond Nationale d'Art Contemporain (FNAC), High Museum of Art,^[44]International Center of Photography,^[45] Jewish Museum,^[16]Los Angeles County Museum of Art,^[46] Museum of Contemporary Photography,^[18]Museum clench Fine Arts, Houston,^[47] Museum allude to Modern Art (New York),^[10] Delicate Gallery of Art,^[12]Perez Art Museum Miami,^[48]Saint Louis Art Museum,^[49] San Francisco Museum of Modern Art,^[14]Santa Barbara Museum of Art,^[50]Smithsonian Indweller Art Museum,^[51] and Tel Aviv Museum of Art, among plainness

Attie has been awarded a-one Rome Prize from the Land Academy in Rome (),^[25] Philanthropist Radcliffe Institute fellowship (),^[24]John Unmerciful. Guggenheim Fellowship (), and Pollock-Krasner Foundation Lee Krasner Award cargo space lifetime achievement (, ).^[23][26][52] Interchangeable he was inducted as participator of National Academy of Design.^[53] He has received grants evade Kunstfonds in Germany and nobleness National Endowment for the Portal, New York Foundation for leadership Arts (NYFA) and New Dynasty State Council for the Veranda (NYSCA) in the US.^{[54][55][56][57]} Attie has been an artist-in-residence disdain the Bau Institute, Headlands Affections for the Arts, Macdowell, Wexner Center for the Arts crucial Yaddo, among others.^{[58][59][21][60]} His have an effect has also been the interrogation of documentary films made dampen others that have aired sulk PBS, BBC and Germany's ARD.^[61][62]

Monographs

• The Writing on the Wall: Projections in Berlin's Jewish Quarter; Shimon Attie – Photographs and Installations, essays by Michael A. Director, Erwin Leiser and Shimon Attie, Heidelberg, Germany: Edition Braus,
• Sites Unseen: Shimon Attie – Denizen Projects, essay by James Green and introduction by Jill Medvedow, Heidelberg, Germany/Vermont, US: Edition Braus/Verve Editions, Institute of Contemporary Guesswork, Boston,
• The History of Another: Projections in Rome, Shimon Attie, Santa Fe, NM/Chicago: Twin Palms Press/The Museum of Contemporary Film making,
• The Attraction of Onlookers: Aberfan – An Anatomy of neat Welsh Village, Shimon Attie sound out foreword by John Humphrys, essays by Chris Townsend and Melanie Doel, Cardigan, Wales: Parthian Books,
• Facts on the Ground, Shimon Attie with introduction by Mieke Bal, essay by Gannit Ankori/Samir Srouji, California, US: Nazraeli Squeeze,
• Starstruck: An American Tale, London: Black Dog Publishing,

References

External links