313:(2001), draws on Skoglund's experience living in Iowa, as a student at the University of Iowa, where she witnessed seemingly endless fields of corn. The work was commissioned by Grinnell College of Art in 2001, and was on view at the school's art museum from June 1 through September 16, 2001. It depicts a woodland composition where live models and the surrounding environment are enveloped in starch white popcorn. Skoglund researched the history of popcorn in the Americas from its Indigenous and colonial use in celebrations and rituals, to its more recent association as a snack of leisure and entertainment. The resulting composition is indicative of corn's complicated relationship to the history and progression of American culture.
155:(born September 11, 1946) is an American photographer and installation artist. Her contributions to photography have advanced the medium as a form of conceptual art. She is well known for her intricately designed environments, which utilize painterly and sculptural techniques within staged and performative scenes. Photography critic Andy Grundberg notes that Skoglund's work contains "all the hallmarks of the new attitude toward photographs: they embrace blatant artificiality; they allude to and draw from an 'image world' of endless pre-existing photographs, and they reduce the world to the status of a film set."
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339:(1980), features life-size, bright green-painted clay cats running amok in a gray kitchen. An older man sits in a chair with his back facing the camera while his elderly wife looks into a refrigerator that is the same color as the walls. The cats were sculpted using chicken wire and plaster. The kitchen is furnished with used furniture Skoglund acquired, and the man and woman that Skoglund used as models were her neighbors at the time. The end product is a very evocative photograph. In a 2013 online forum by the
255:. She taught herself photography to document her artistic endeavors, and experiment with the theme of repetition. She also become interested in advertising and high technology—trying to re-frame mass media aesthetics for a noncommercial purpose via combining the technical focus found in the commercial world and bringing that into the fine art studio. In an interview with curator Luca Panaro, she imparts that, "Mixing of the natural and the artificial is what I do everyday of my life
275:, and embellishing them with carefully selected colored furniture and other objects, as well as live models. She then photographs the set. The works are characterized by a formidable amount of one particular object, painterly mark-making, and either bright contrasting colors or a monochromatic color scheme. Skoglund's works are quirky and idiosyncratic, and as former photography critic for
436:. The composition of a man in yellow pajamas entering a dreamlike setting of rubber duckies, plastic chairs and blue plastic hangers arranged on a yellow wall, was created inside her former tenement studio on Elizabeth Street in lower Manhattan. Skoglund recreated the work as a site-specific installation that was prominently on view for anyone walking along the
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childish behavior of sculpting and painting with food. Food as a material allows me to explore the boundaries between nature and artifice...In my works with animals, I like to ask: who is looking at whom? I am especially interested in exploring consciousness as seen from a non-human perspective. Animal life presents people with a relief from themselves."
324:(1974) portrays how self-regulating repetition influences an object's aesthetic value. Photographing a single saltine cracker and then reproducing that image 77 times, resulted in a composition that became abstracted and obscured in accordance with the subtle mechanical shifts derived from the Xeroxing process.
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utilizes a variety of elements of art and design, including the juxtaposition of complementary colors, scale, and balance. All of these aspects contribute to the artworks' dramatic effect. The background consists of a monochromatic deep blue, which is reminiscent of both nighttime and the ocean. This
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Food and animals are common elements in
Skoglund's work. She explains the significance and allure to both food and animal imagery, stating that: "I think of Food as a universal language. Everyone eats. For the camera, food has colors and textures that can be manipulated to fabulous effect. I love the
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technique. Skoglund began by taking photographs of candid street and domestic scenes in black and white, later adding color to them in the darkroom. Then she cut and pasted pieces of the photographs into collaged compositions and rephotographed them using an 8 by 10 large format camera. In 2005, she
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began through the familiar process of installation and photography, but
Skoglund eventually decided to create a work that was fully rendered digitally. She notes that: "With the theme of winter, I imagined snowflakes. Initially, I made them from clay, because I have experience with ceramics, and I
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In 2000, the
Galerie Guy Bärtschi in Geneva, Switzerland held an exhibition of 30 works by Skoglund. The photographs ranged her late 1970s series of plates on tablecloths to works from the 1980s and 1990s. A critic who reviewed the exhibition, Richard Leydier, commented that Skoglund criticism is
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littered with interpretations of all kinds, whether feminist, sociological, psychoanalytical or whatever. Skoglund has been nonchalant about how her work is read, while being forthcoming about the intent behind her work, saying, "What is the meaning of my work? For me, it's really in doing it."
354:. The composition envisions a restaurant scene where the tables, chairs, windows, chandelier, and food items are painted in grayscale. In the back corner of the dining room, two individuals are served by a waiter, while bright red foxes are depicted as being playfully in motion around the room.
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are affixed to human models and inanimate living room objects to create rich textural surfaces and a palette of mostly orange, but with slivers of purple to create a complimentary color relationship. The piece is a witty commentary on the artificial nature of certain social gatherings.
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In 1978, Skoglund expanded on this theme by producing a series of repetitive food item still life images. These photographs of food were presented in geometric and brightly colored environments so that the food becomes an integral part to the overall patterning, as in
294:(2001) are indicative of her sentiments about using food as raw artistic material. Each playfully employs an extensive amount of popular snack foods in order to create fantastical scenes that also address popular culture and history. In
343:, Terry Barrett and Sydney Walker identified two viable interpretations of Radioactive Cats. The first is about social indifference to the elderly and the second is nuclear war and its aftermath, suggested by the artist's title.
162:, who explains that "The work simmers down and reminds viewers of their smallness in a big, overdetermined world where consumer culture, nature, science, and their interior gyroscopes regularly spin out of control."
478:, a symbolic reference to her fusion of diverse media and imagery. The exhibition was curated by Germano Celant, who also published a comprehensive monograph on Skoglund's work from the 1970s to the present (2019).
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liked the idea of fragility. I worked for two years on these, and then hated them. I experimented with materials. In the end I cut them digitally. In a certain sense,
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Another well recognized composition of
Skoglund's, is a fantastical arrangement featuring numerous goldfish hovering above two people in bed late at night, called
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Another career retrospective of
Skoglund's work was on view in 2019 at the Centro Italiano per la Fotografia in Turin, Italy. The title of the exhibition was
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revisited the series, this time utilizing digital tools like
Photoshop to alter the images. The revamped series of compositions is called "True Fiction Two."
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416:(2008) is an artificial landscape, where organic materials like blades of grass and bark are replaced by pipe cleaners and wool fibers. The making of
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on
September 11, 1946. She spent her childhood all over the country including the states Maine, Connecticut, and California. She studied both
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floating through the room. Skoglund arranged the human models from a vantage point that makes their identities ambiguous to the viewer.
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The impact of
Skoglund's juxtaposition of commercial aspects, dramatization, and conceptual art elements, is described by curator
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In 2008, Skoglund began a series of nature themed artworks, titled "The
Project of the Four Seasons." The series includes
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190:, Massachusetts, graduating in 1968. In 1967, she studied art history through her college's study abroad program at the
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401:. For this unique setting, she created and arranged symbolic motifs on ceramic tile based on mythology and folklore.
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The utilization of repetitive, process-oriented techniques began early on in
Skoglund's career. Her 1973 composition
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In 1985, Skoglund completed a series titled "True Fiction One". The process of creating the series incorporated the
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332:(1978), with its checkerboard of carrots on a white-spotted red plate placed on a cloth in the same pattern.
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525:, Colleges and Historic Deerfield Museum Consortium, Smith College, Grinnell College Museum of Art, and the
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In 2015, the Ryan Lee Gallery in New York City, presented a window installation of Skoglund's 1979 work
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in 1981. Photographs of the artwork have been on view and collected by several institutions including,
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Dalton, Robert. "Interpreting and Responding to Contemporary Photography through Creative Writing".
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Faulconer Gallery, Daniel Strong, Milton Severe, Marvin Heiferman, and Douglas Dreishpoon.
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Rosenblum, Robert, Linda Muehlig, Ann H. Sievers, Carol Squiers, and Sandy Skoglund.
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Andy Grundberg describes, they "evoke adult fears in a playful, childlike context".
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Skoglund holds a faculty position at the Department of Arts, Culture and Media of
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Strong, Daniel; Severe, Milton; Heiferman, Marvin; Dreishpoon, Douglas (2001).
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229:. In 1971, she earned her Master of Arts and in 1972 a Master of Fine Arts in
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is a completely digital work, but at the same time it exists physically."
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was manifested by repeatedly crumpling and photocopying a piece of paper.
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1095:"Striking and Alarming Collages That Capture a Fractured 1980s New York"
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206:. After graduating from Smith, Skoglund taught middle-school art in
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Skoglund's works are held in numerous museum collections including
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1151:"Sandy Skoglund - Hybrid Visions that took years of development"
980:. San Francisco: San Francisco Museum of Modern Art. p. 75.
832:"Chapter 11. Dialogues with Great Photographers: Sandy Skoglund"
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1520:"Revenge of the Goldfish (The J. Paul Getty Museum Collection)"
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1642:. Grinnell, Iowa: Grinnell College, Faulconer Gallery, 2001.
633:"Cats & Cheez Doodles: an Interview with Sandy Skoglund"
804:"Review/Art; Focusing on Televisions As Objects, Not Media"
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Leydier, Richard. "Sandy Skoglund: Galerie Guy Bärtschi".
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In 1972, Skoglund began working as a conceptual artist in
858:"Sandy Skoglund's Immersive Art at the McNay Art Museum"
1684:. Barcelona: Sala Catalunya de la FundaciĂł "La Caixa".
1069:"Sandy Skoglund in Conversation with Demetrio Paparoni"
996:
Canadian Review of Art Education: Research & Issues
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In 2002, Skoglund designed the men's bathroom for the
1358:"Sandy Skoglung Collection Record - Brooklyn Museum"
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Sandy Skoglund : 28 d'abril al 31 de maig 1992
259:and I hope that I am not alone in this process."
210:for a year before attending graduate school at the
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1568:"Grinnell College Museum of Art - Raining Popcorn"
1002:: 12–26 – via Art & Architecture Source.
907:"Grinnell College Museum of Art - Raining Popcorn"
363:(1981). The artwork was used as cover art for the
754:"Luca Panaro in Conversation with Sandy Skoglund"
1045:"The Constructed Environments of Sandy Skoglund"
233:from Iowa. Skoglund was an art professor at the
742:: 25 – via Art & Architecture Source.
463:, which also owns the original installation.
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1635:. Milan: Silvana Editoriale. 978-8836642670.
660:. Art Galleries Switzerland. Archived from
335:One of Skoglund's best known works, titled
432:. The work was initially displayed at the
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1784:21st-century American women photographers
1779:20th-century American women photographers
947:10.1093/gao/9781884446054.article.t097698
600:"Ask it no Questions: the Camera can lie"
1647:How Photography Became Contemporary Art
1180:"Sandy Skoglund: "My work is a mirror""
1127:"Smith College: Brown Fine Arts Center"
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802:Grundberg, Andy (September 14, 1990).
341:Getty Center for Education in the Arts
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546:Charles Hagen (September 23, 1994).
378:blue is contrasted by bright orange
350:, has a similar imaginative feel to
1794:People from Weymouth, Massachusetts
1774:21st-century American photographers
1764:20th-century American photographers
1672:Sandy Skoglund: Reality Under Siege
1649:. New Haven: Yale University Press.
1524:The J. Paul Getty Museum Collection
1043:Holden Luntz Gallery (2021-07-15).
1734:American people of Swedish descent
1178:Esposito, Francesca (2019-02-18).
499:San Francisco Museum of Modern Art
495:Museum of Contemporary Photography
483:The Whitney Museum of American Art
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1620:Sandy Skoglund's official website
1093:Teicher, Jordan G. (2015-12-08).
631:Keever, Erin (October 10, 2023).
330:Cubed Carrots and Kernels of Corn
1676:. London: Harry N. Abrams, 1998.
1655:A history of women photographers
734:Tarlow, Lois. "Sandy Skoglund".
685:Kryshevich, Julia (2021-04-19).
1640:Raining Popcorn: Sandy Skoglund
1382:"Fox Games | Denver Art Museum"
618:Raining Popcorn: Sandy Skoglund
1754:University of Hartford faculty
856:Petty, Kathleen (2021-04-01).
598:Grundberg, Andy (1990-08-12).
472:Sandy Skoglund: Visioni Ibride
322:The Holes in a Saltine Cracker
286:Skoglund's 1992 installation,
271:by building elaborate sets or
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1804:American installation artists
145:http://www.sandyskoglund.com/
933:Grant, Catherine M. (2002).
399:Liquid Origins, Fluid Dreams
397:, as an installation called
1701:. Roma: Contrasto due srl.
1210:. 2015-09-18. pp. C22.
978:Sol LeWitt: A Retrospective
637:Glasstire: Texas Visual Art
507:Nelson-Atkins Museum of Art
461:Smith College Museum of Art
444:Collections and exhibitions
395:Smith College Museum of Art
263:Artworks, style, and themes
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1759:Rutgers University faculty
1744:University of Paris alumni
687:"In Focus: Sandy Skoglund"
658:"Sandy Skogland Biography"
455:, as well being exhibited
1749:University of Iowa alumni
1653:Rosenblum, Naomi (2014).
1204:"Window on the High Line"
779:"Sandy Skoglund | Artnet"
620:. Iowa: Grinnell College.
451:was featured in the 1981
242:Rutgers University–Newark
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1789:American women academics
1697:Skoglund, Sandy (2009).
1680:Skoglund, Sandy (1992).
1645:Grundberg, Andy (2024).
1631:Celant, Germano (2019).
1548:museums.fivecolleges.edu
1274:museums.fivecolleges.edu
1250:museums.fivecolleges.edu
573:YAU, JOHN (1988-11-08).
367:1992 album, also titled
1769:Photographers from Iowa
1674: : a Retrospective
1657:. New York: Abbeville.
1386:www.denverartmuseum.org
1222:"Sandy Skoglund Online"
449:Revenge of the Goldfish
375:Revenge of the Goldfish
370:Revenge of the Goldfish
360:Revenge of the Goldfish
267:Skoglund often creates
237:between 1973 and 1976.
172:Weymouth, Massachusetts
58:Weymouth, Massachusetts
1544:"Collections Database"
1476:Saint Louis Art Museum
1362:www.brooklynmuseum.org
1270:"Collections Database"
1246:"Collections Database"
976:Garrels, Gary (2000).
474:, which translates to
457:Saint Louis Art Museum
235:University of Hartford
1699:The artificial mirror
1226:www.artcyclopedia.com
1073:www.sandyskoglund.com
1021:art.nelson-atkins.org
758:www.sandyskoglund.com
170:Skoglund was born in
16:American photographer
1739:Smith College alumni
1592:"Shimmering Madness"
1572:grinnell.dom5183.com
1496:"Gathering Paradise"
1448:"The Cocktail Party"
911:grinnell.dom5183.com
886:Holden Luntz Gallery
862:San Antonio Magazine
527:Dayton Art Institute
515:St. Louis Art Museum
503:Montclair Art Museum
214:, where she studied
318:Crumpled and Copied
1799:Surrealist artists
1500:High Museum of Art
1472:"Radioactive Cats"
1434:2010-07-28 at the
1208:The New York Times
809:The New York Times
519:High Museum of Art
346:Her 1989 artwork,
296:The Cocktail Party
288:The Cocktail Party
277:The New York Times
246:Newark, New Jersey
212:University of Iowa
119:Shimmering Madness
114:The Cocktail Party
74:University of Iowa
51:September 11, 1946
956:978-1-884446-05-4
935:"Skoglund, Sandy"
882:"Raining Popcorn"
491:Denver Art Museum
208:Batavia, Illinois
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