35 in. http://www.sandyskoglund.com. “Sandy Skoglund.” In Collections. Boca Raton, FL: CRC Press, 2006. I’m a little bit more of a chemical, scientific person when it comes to dreams and how they function in our lives. 2. The text on this page is licensed under a, All Getty Research Institute Publications, Conservation Perspectives, The GCI Newsletter, GCI Reference Collection (for materials analysis), Research Assistance at GCI Information Center, Links to Cultural Heritage Policy Documents, Creative Commons Attribution 4.0 International License, The J. Paul Getty Museum at the Getty Center (Los Angeles), May 26 to October 18, 2015. Object Description. In preparation for taking this photograph, Skoglund sculpted each of the fish in terracotta. The use of grotesque animal caricatures creates tension in an ambiguous narrative that is at once playful and disturbing. Another often recognized work by Skoglund is Revenge of the Goldfish, in which many fish are suspended above people positioned on bed late at night. The images are uncanny, visually arresting, and often quite humorous. Dayton Art Institute Web site. http://www.mocp.org/detail.php?t=objects&type=browse&f=maker&s=Skoglund%2C+Sandy&record=0. The “Revenge of the Goldfish” may imply that Skoglund is not satisfied with the real world which needs to be punished by the goldfish. For this work she created a dreamlike atmosphere by filling the set with handmade, larger-than-life sculptures of goldfish and casting a woman and a boy whose relationship is unclear. So that’s why I am constantly in my work going back to sort of square one. I think he probably had something happen that was related to goldfish and so he had a dream about it. Updates and additions stemming from research and imaging activities are ongoing, with new content added each week. Her oeuvre includes photographs of a room full of “radioactive” green cats, a forest of humanoid trees visited by actual people and human sculptures, and a hillside populated by adult-sized babies. The life of the imagination—the importance of that—is to, in a sense, liberate the entire society with the possibility that their daydreams and their small little visions are, in fact, just as important, in a democratic sense, as any other person’s. Sandy Skoglund. 1946)Region: North AmericaDate: 1981Period: 1900 CE – 2010 CEMaterial: Cibachrome color photographMedium: Prints, Drawings, and PhotographyDimensions: H: approx. “The inner life for me just comes. In her work, Skoglund explores the aesthetics of artificiality and the effects of interrupting common reality. The monochrome uniformity of the blue-green room and furniture plays on the idea of the whole scene as an aquarium. ), W: approx. Morton, Robert, ed. 2000 Avenue of the Stars, Suite 1000S, Los Angeles, CA 90067 © 2020 Annenberg Foundation. Sandy Skoglund . Museum of Contemporary Photography Web site. Classroom Resources > Edited by Lynne Warren. 27 ½ in. The piece was used as cover art for the Inspiral Carpets album of the same name. Each element of her constructed scenes, taken individually, is familiar and unremarkable. She builds elaborate sets, filled with props, figurines, and human models, which she then photographs. (Verso, original backing board) printed gallery label: "CASTELLI GRAPHICS 4 EAST 77 NEW YORK 10021/ SANDY SKOGLUND: Revenge of the Goldfish, 1981/ Cibachrome print/ 30 x 40 inches/ edition 30/ Castelli Photographs/ 21/30"; In the late 1970s Sandy Skoglund began arranging scenes of familiar domestic spaces painted in a monochromatic palette. The ordinary moments for me sometimes feel, I guess, a little bit closer to the truth about what matters. For this work she created a dreamlike atmosphere by filling the set with handmade, larger-than-life sculptures of goldfish and casting a woman and a boy whose relationship is unclear. The composition is centered around a bedroom. Language and societal norms shift, and cataloging of a collection is a continuous work in progress. New York: Harry N. Abrams in association with Smith College, 1998. All rights Reserved. The composition is centered around a bedroom. The juxtapositions she creates among the parts, however, are surprising, strange, and new. Photography is as essential to Skoglund's work as are the installations themselves because without photographs, the sets would eventually disappear. The detail, variety, and bright orange color of the 120 goldfish make them the most vivid part of the image. The images, titles, and inscriptions are products of their time and the creator’s perspective and are presented here as documentation, not a reflection of Getty’s values. The images are uncanny, visually arresting, and often quite humorous. American photographer Sandy Skoglund creates brightly colored fantasy images. Help us improve our records by sharing your corrections or suggestions. Every effort has been made to accurately determine the rights status of works and their images. Please contact Museum Rights and Reproductions if you have further information on the rights status of a work contrary or in addition to the information in our records. The creative process is that you can only create conditions for it to maybe come. Consciously following the trail blazed by advertising, they have used imagination and wit to overcome the strictures of the Classical Modern. (70 cm. But you can’t make it come; you can’t say that I am going to create now between one and two in the afternoon on a given day. This information is published from the Museum's collection database. (89 cm. 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