314:(2014), a site-specific installation composed of three elements: eleven photographs in freestanding frames; three horizontal lines etched into the gallery walls; and the natural light from the floor-to-ceiling windows. The freestanding frames were located in the center of the space, relocating the viewing experience from the walls towards the windows. The exhibition was on view for a year, throughout which the light conditions changed and encouraged the oxidation of the light-sensitive photograms. The proportions of the photographs, furthermore, were based on those of an index card, in reference to
159:(RISD), intending to study painting or architecture but eventually changing her focus to photography. The pedagogical style of RISD at the time was very conservative and there were few female faculty members in the photography department. As a result, Deschenes sought other contexts for involvement with feminism, queer politics, AIDS activism, examining the power of representation within the medium of photography. Deschenes graduated from RISD in 1988 with a BFA degree in photography.
89:. Her work examines the fluidity of the medium of photography and expands on what constitutes the viewing of a photograph. Deschenes has stated that she seeks to "enable the viewer to see the inconstancy of the conditions of display, which are always at play but sometimes hard to see." Her practice is not bound to a single technology, method, process, or subject, but to the fundamental elements of photography, such as light, paper, chemistry, and time.
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While Bayer's schema sought to be "an inclusive picture of all possibilities," Deschenes' installation resulted in a fragmentation of the surrounding environment. Commenting on the title of the work, Matthew
Witkovsky has written that the words tilt and swing evoke "abstract issues of viewpoint and
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Deschenes explores the materials and properties of photography, light, and perception, often in relation to the architectural environments within which they are displayed. Curator and critic
Matthew Witkovsky has written that Deschenes' work "pushes against the basic terms by which photography is
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Deschenes worked in photography labs as a technician throughout her career as a young artist, becoming adept at chemical and analogue printing processes. In this capacity, she also worked extensively documenting the artwork of others, which influenced her notion of mediation and the conditions of
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by women artists at the Walker Art Center in 1973. In 2014, Deschenes was a recipient of the prestigious
Rappaport Art Prize. Established in 2000, the Rappaport Prize is an annual art award presented to a contemporary artist with strong connections to New England by deCordova Sculpture Park and
167:(1997), a set of seven monochrome dye transfer prints whose colors correspond to those developed by cartographers to represent the range of earth's elevation. In the work, by utilizing the process of dye color transfer color printing, which was discontinued by
216:"Registration" exhibition. For the work, Deschenes photographed a sheet of perforated paper filtering the light coming through the window, and layered the negative with a duplicate in an enlarger to create an abstract image with illusions of movement.
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FPS was cut and mounted directly on vertical strips of dibond, and FPF was pressed in thin, horizontal frames. Both series progressed with the rhythm of the viewer's footsteps, akin to the body's movement being captured by the camera in time.
200:. Deschenes "calibrates her works to the site" in order to reveal the spectator's relationship to the space, whether by encouraging new visual encounters or responding to and disrupting the architectural space.
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series sought to "confound" the limitations of making something "with a property largely outside of the confines of photography and expectations that are brought to looking at a photographic work."
224:(1997), a diptych of monochromatic dye transfer prints with subtle differences in hue. The dye transfers' matrices alignment served as a counterpoint to the misregistration in the
239:(2009), an installation of six "silver mirror" panels arranged in a 360-degree floor-to-ceiling configuration. It was based on an unrealized exhibition design conceived by
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by converting the gallery into a camera. Deschenes moved the gallery's entrance to a previously unused exterior side door, leading the viewers through a long hallway (
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manipulation, for example the ways in which the spectatorial subject is turned or focused in the controlled setting of a museum building." At the same time, curator
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1200:. Respini, Eva, Charlesworth, Sarah, 1947-2013, Crosby, Eric, 1980-, Marcoci, Roxana, Quaytman, R. H. (Rebecca H.), Tillman, Lynne. Munich. 2016.
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686:. Respini, Eva, Charlesworth, Sarah, 1947-2013, Crosby, Eric, 1980-, Marcoci, Roxana, Quaytman, R. H. (Rebecca H.), Tillman, Lynne. Munich.
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described the show as centering on not "the specific atmospheric or environmental conditions that produced each print," but "how time is
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conventionally defined: instantaneity, veracity, fixity, or reproducibility." At the same time, Deschenes engages with the legacy of
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in New York (2009). Her first solo presentation at an
American museum, "Liz Deschenes: Gallery 7" was on view at the
1253:. Burton, Johanna., Horak, Ruth., Pálffy, András., Spörr, Elisabeth Bettina., Wiener Secession. Vienna: Secession.
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299:"must be seen not only as dilating context and insisting on spatial occupation but also as moving speculatively:
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in 1994, Deschenes investigates the technological changes in the medium. In 2001, influenced by her visit to the
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Marcoci, Roxana (April–May 2014). "Radical
Looking: In the Presence of the Image, in the Absence of Spectacle".
140:, a largely homogeneous and conservative town. As a child, she frequently encountered and was fascinated by the
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and educator. Her work is situated between sculpture and image and engages with post-conceptual photography and
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exhibition at Miguel Abreu
Gallery. In the installation, Deschenes took the proto-cinematic experiments of
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179:(2001-2002), which foregrounded the invisible backdrops used for special effects in film production.
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has remarked that in addition to the reference to Bayer, it is crucial to consider the influence of
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Deschenes has exhibited extensively in the United States and abroad, including solo shows at
937:. Sussman, Elisabeth, 1939-, Sanders, Jay, 1975-, Whitney Museum of American Art. New York.
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in New York (2014), and "Cross Over. Photography of
Science + Science of Photography" at
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1006:"Because There Is No Decisive Movement," in Bettina Spörr, Liz Deschenes: Secession
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279:(2012). In the installation, Deschenes mimicked the illusion of spatiality in the
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Greengerger
Rafferty, Sarah (Winter 2010). "Chemical Dependence: Liz Deschenes".
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Museum through the support of the
Phyllis and Jerome Lyle Rappaport Foundation.
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series. In an interview with Mousse
Magazine in 2014, Deschenes noted that the
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1030:"From the Archives: Lucy Lippard, the Walker, and Materializing "Six Years""
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Deschenes' work has been included in numerous group exhibitions at the
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http://www.campolipresti.com/exhibitions.html?exh=107&page=images
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http://www.campolipresti.com/exhibitions.html?exh=110&page=images
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1447:"Liz Deschenes. Tilt/Swing (360Âş field of vision, version 1). 2009"
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in Minneapolis (2015), Campoli Presti in Paris and London (2013),
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1283:"FIRST COMPREHENSIVE SURVEY OF ARTIST LIZ DESCHENES OPENS JULY 1"
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from November 2014 to October 2015 and curated by Eric Crosby.
420:, Switzerland (2013). Deschenes was also featured in the 2012
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In 2007, Deschenes presented her series of photographs titled
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showed the first comprehensive survey of her work in 2016.
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Secession, www.secession.at, Webdesign: Christina Goestl.
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361:...and the specific weight that time can hold in space."
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Recent monographs dedicated to Deschenes' work includes
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in Vienna, Deschenes staged a new series of photograms,
175:' convention in Las Vegas, Deschenes created her series
112:, New York, and is a visiting artist in photography at
439:(Boston: The Institute of Contemporary Art, 2016) and
633:"Photography Faculty at Bard College at Bard College"
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production and display. In 1997, Deschenes presented
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as the point of departure and presented two series,
104:. In 2019, she was the Wolf Chair in Photography at
1393:"BOMB Magazine: Liz Deschenes by Kathleen Peterson"
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1096:Campoli Presti - Liz Deschenes - Bracket (London)
424:and "Parcours" (2012), a two-person exhibition at
1077:Campoli Presti - Liz Deschenes - Bracket (Paris)
934:"The Eyes Bear the Load" in Whitney Biennial 2012
295:of the same size. Johanna Burton stated that the
1143:"Liz Deschenes | Whitney Museum of American Art"
833:"Liz Deschenes: 'Stereographs #1-4 (Rise/Fall)'"
556:"Liz Deschenes: 'Stereographs #1-4 (Rise/Fall)'"
1340:"Whitney Museum of American Art: Liz Deschenes"
1409:"Seceding: A Conversation with Liz Deschenes"
451:Deschenes' work is in the collections of the
443:(Vienna: Secession, Berlin: Revolver, 2012).
8:
784:: CS1 maint: multiple names: authors list (
235:Two years later, in 2009, Deschenes created
155:In the mid-1980s, Deschenes enrolled at the
148:, situated prominently on the waterfront of
1324:Liz Deschenes on her cameraless photography
612:School of Visual Arts | SVA | New York City
1407:Lauren O'neill-Butler (January 22, 2013).
1228:: CS1 maint: location missing publisher (
1055:"LIZ DESCHENES: Rates (Frames per Second)"
965:: CS1 maint: location missing publisher (
714:: CS1 maint: location missing publisher (
385:(2012), Sutton Lane, Brussels (2010), and
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1522:21st-century American women photographers
1517:20th-century American women photographers
1172:"Parcours | The Art Institute of Chicago"
583:"Liz Deschenes at the Walker Art Center"
473:Solomon R. Guggenheim Museum in New York
1053:Christie-Dervaux, Millie (2018-06-05).
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412:(2014), "What is a Photograph?" at the
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501:Hirschhorn Museum and Sculpture Garden
249:The Fundamentals of Exhibition Design.
807:"MIGUEL ABREU GALLERY –LIZ DESCHENES"
511:Institute of Contemporary Art, Boston
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1472:Rhode Island School of Design alumni
1326:, San Francisco Museum of Modern Art
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173:National Association of Broadcasters
1502:21st-century American photographers
1492:20th-century American photographers
1376:. sequencepress.com. Archived from
908:"Fundamentals of Exhibition Design"
554:Schwendener, Martha (15 May 2014).
414:International Center of Photography
271:In her 2012-2013 exhibition at the
1427:"Eileen Quinlan and Liz Deschenes"
831:Schwendener, Martha (2014-05-15).
457:San Francisco Museum of Modern Art
310:in Minneapolis, Deschenes created
306:In 2014, at the invitation of the
16:American visual artist (born 1966)
14:
1008:. Vienna: Secession. p. 15.
1512:Photographers from Massachusetts
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981:"Liz Deschenes « secession"
108:. She currently teaches at the
58:sculptor, photography, educator
1334:CAMPOLI PRESTI - LIZ DESCHENES
1250:Liz Deschenes : Secession
763:. secession.at. Archived from
469:Whitney Museum of American Art
465:The Metropolitan Museum of Art
398:Whitney Museum of American Art
330:In 2018, Deschenes staged her
142:Boston Gas Tank (Rainbow Tank)
128:Deschenes was born in 1966 in
1:
1482:School of Visual Arts faculty
1342:. whitney.org. Archived from
1121:Walker Art Center Exhibitions
658:Fantom Photographic Quarterly
489:CCS Bard Hessel Museum of Art
157:Rhode Island School of Design
100:'s School of Visual Arts and
96:and was a visiting artist at
48:Rhode Island School of Design
477:The Art Institute of Chicago
426:The Art Institute of Chicago
291:). Each room contained four
931:Witkovsky, Matthew (2012).
377:in North Adams, MA (2015),
81:(born 1966) is an American
32:1966 (age 57–58)
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1477:Bennington College faculty
1117:"Liz Deschenes: Gallery 7"
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428:that she co-curated with
332:Rates (Frames per Second)
287:) to two adjacent rooms (
247:artist and architect, in
116:. She lives and works in
1527:American women academics
1361:. miguelabreugallery.com
1004:Burton, Johanna (2012).
912:NYPL Digital Collections
735:"Welcome to the Whitney"
535:The Museum of Modern Art
441:Liz Deschenes, Secession
410:the Museum of Modern Art
124:Early life and education
1247:Deschenes, Liz (2012).
432:and Matthew Witkovsky.
340:FPS (Frames per Second)
144:by artist and activist
1374:"Sequence - Secession"
1359:"MIGUEL ABREU GALLERY"
587:Aperture Foundation NY
497:Corcoran Museum of Art
214:Miguel Abreu Gallery's
177:Blue and Green Screens
1232:) CS1 maint: others (
682:Respini, Eva (2016).
608:"Liz Deschenes - SVA"
418:Fotomuseum Winterthur
136:, and grew up on the
110:School of Visual Arts
36:Boston, Massachusetts
1532:Bard College faculty
869:Miguel Abreu Gallery
493:Milwaukee Art Museum
483:in Minneapolis, the
461:Museum of Modern Art
387:Miguel Abreu Gallery
1507:Artists from Boston
1123:. Walker Art Center
406:the Centre Pompidou
402:Musee d'Art Moderne
336:Étienne-Jules Marey
98:Columbia University
83:contemporary artist
71:Post-conceptual art
1432:. 28 November 2007
1103:2014-04-07 at the
1084:2014-04-07 at the
837:The New York Times
812:. 27 November 2013
561:The New York Times
94:Bennington College
92:She has taught at
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1260:978-3-902592-63-7
1207:978-3-7913-5511-5
1176:archive.artic.edu
1059:The Brooklyn Rail
1015:978-3-902592-63-7
944:978-0-300-18036-7
741:. 11 January 2012
589:. 21 January 2015
481:Walker Art Center
391:Walker Art Center
383:Secession, Vienna
379:Walker Art Center
354:The Brooklyn Rail
346:(Frames per Feet)
308:Walker Art Center
277:Stereographs 1-16
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