Highstyle | Barbara Astman
2009
11 x 21 inches (29.25 x 19.75 inches framed)
Edition of 20, 3 APs
ABOUT THE ARTWORK
As part of Astman’s “Newspaper Series,” this work offers a glimpse of years’ worth of daily newspapers collected by the artist. The series engages our fixation with mass-media communication and its influence over our reality, memories, and histories. Seen from a distance, each strip is like a strand of human DNA. A closer examination reveals deliberate alterations: stories of various scandals, tragedies, and human triumphs are emphasized by Astman’s folding technique.
ABOUT THE ARTIST
Born 1950 in Rochester, NY
Lives and works in Toronto
Barbara Astman’s art practice is a hybrid of photography, new media, sculpture, and light-projection installations. Her staged and sequential work explores issues of identity, history, systems of representation, and gender perspectives. Astman has been exhibiting across Canada and abroad since 1975 and has produced numerous public commissions, including the Canadian Embassy in Berlin (2005) and the Loblaw corporate headquarters in Brampton, ON. Astman is a member of the Royal Canadian Academy. She was included in the Gallery TPW exhibitions “Docu Lomo” (2002) and “The Found and the Familiar: Snapshots in Contemporary Canadian Art” (2003).
Selected solo exhibitions: “It’s All About Style,” Corkin Gallery, Toronto (2014); “I as artifact,” McIntosh Gallery, Western University, London, ON (2014); “dancing with che: enter through the gift shop,” Kelowna Art Gallery, Kelowna, BC, Museum of Contemporary Art, Calgary, and Museum of Contemporary Canadian Art, Toronto (2012–13); and “Personal/Persona: A Twenty-Year Survey Exhibition,” Art Gallery of Hamilton, Hamilton, ON, travelled to Kamloops Art Gallery, Kamloops, BC, Kitchener/Waterloo Art Gallery, Kitchener, ON, and Edmonton Art Gallery, Edmonton, AB (1995)
Selected group exhibitions: “Art for a Century, 100 for the 100th,” Art Gallery of Hamilton, Hamilton (2014); “Light My Fire: Some Propositions about Portraits and Photography, Part I,” Art Gallery of Ontario, Toronto (2013); “Freedom of Assembly,” Oakville Galleries, Oakville, ON (2012); “Flat,” Art Gallery of Alberta, Edmonton (2007); “Reflections on the Artist: Portraits and Self Portraits,” National Gallery of Canada, Ottawa (2000)
Selected public collections: Art Gallery of Ontario, Toronto; Bibliothèque Nationale, Paris; the Government of Ontario Collection, Toronto; George Eastman Museum, Rochester, New York; Museum of Fine Arts Boston; Museum of Contemporary Art Kiasma, Helsinki; Victoria and Albert Museum, London; Yale University Art Gallery, New Haven, CT
2009
11 x 21 inches (29.25 x 19.75 inches framed)
Edition of 20, 3 APs
ABOUT THE ARTWORK
As part of Astman’s “Newspaper Series,” this work offers a glimpse of years’ worth of daily newspapers collected by the artist. The series engages our fixation with mass-media communication and its influence over our reality, memories, and histories. Seen from a distance, each strip is like a strand of human DNA. A closer examination reveals deliberate alterations: stories of various scandals, tragedies, and human triumphs are emphasized by Astman’s folding technique.
ABOUT THE ARTIST
Born 1950 in Rochester, NY
Lives and works in Toronto
Barbara Astman’s art practice is a hybrid of photography, new media, sculpture, and light-projection installations. Her staged and sequential work explores issues of identity, history, systems of representation, and gender perspectives. Astman has been exhibiting across Canada and abroad since 1975 and has produced numerous public commissions, including the Canadian Embassy in Berlin (2005) and the Loblaw corporate headquarters in Brampton, ON. Astman is a member of the Royal Canadian Academy. She was included in the Gallery TPW exhibitions “Docu Lomo” (2002) and “The Found and the Familiar: Snapshots in Contemporary Canadian Art” (2003).
Selected solo exhibitions: “It’s All About Style,” Corkin Gallery, Toronto (2014); “I as artifact,” McIntosh Gallery, Western University, London, ON (2014); “dancing with che: enter through the gift shop,” Kelowna Art Gallery, Kelowna, BC, Museum of Contemporary Art, Calgary, and Museum of Contemporary Canadian Art, Toronto (2012–13); and “Personal/Persona: A Twenty-Year Survey Exhibition,” Art Gallery of Hamilton, Hamilton, ON, travelled to Kamloops Art Gallery, Kamloops, BC, Kitchener/Waterloo Art Gallery, Kitchener, ON, and Edmonton Art Gallery, Edmonton, AB (1995)
Selected group exhibitions: “Art for a Century, 100 for the 100th,” Art Gallery of Hamilton, Hamilton (2014); “Light My Fire: Some Propositions about Portraits and Photography, Part I,” Art Gallery of Ontario, Toronto (2013); “Freedom of Assembly,” Oakville Galleries, Oakville, ON (2012); “Flat,” Art Gallery of Alberta, Edmonton (2007); “Reflections on the Artist: Portraits and Self Portraits,” National Gallery of Canada, Ottawa (2000)
Selected public collections: Art Gallery of Ontario, Toronto; Bibliothèque Nationale, Paris; the Government of Ontario Collection, Toronto; George Eastman Museum, Rochester, New York; Museum of Fine Arts Boston; Museum of Contemporary Art Kiasma, Helsinki; Victoria and Albert Museum, London; Yale University Art Gallery, New Haven, CT
2009
11 x 21 inches (29.25 x 19.75 inches framed)
Edition of 20, 3 APs
ABOUT THE ARTWORK
As part of Astman’s “Newspaper Series,” this work offers a glimpse of years’ worth of daily newspapers collected by the artist. The series engages our fixation with mass-media communication and its influence over our reality, memories, and histories. Seen from a distance, each strip is like a strand of human DNA. A closer examination reveals deliberate alterations: stories of various scandals, tragedies, and human triumphs are emphasized by Astman’s folding technique.
ABOUT THE ARTIST
Born 1950 in Rochester, NY
Lives and works in Toronto
Barbara Astman’s art practice is a hybrid of photography, new media, sculpture, and light-projection installations. Her staged and sequential work explores issues of identity, history, systems of representation, and gender perspectives. Astman has been exhibiting across Canada and abroad since 1975 and has produced numerous public commissions, including the Canadian Embassy in Berlin (2005) and the Loblaw corporate headquarters in Brampton, ON. Astman is a member of the Royal Canadian Academy. She was included in the Gallery TPW exhibitions “Docu Lomo” (2002) and “The Found and the Familiar: Snapshots in Contemporary Canadian Art” (2003).
Selected solo exhibitions: “It’s All About Style,” Corkin Gallery, Toronto (2014); “I as artifact,” McIntosh Gallery, Western University, London, ON (2014); “dancing with che: enter through the gift shop,” Kelowna Art Gallery, Kelowna, BC, Museum of Contemporary Art, Calgary, and Museum of Contemporary Canadian Art, Toronto (2012–13); and “Personal/Persona: A Twenty-Year Survey Exhibition,” Art Gallery of Hamilton, Hamilton, ON, travelled to Kamloops Art Gallery, Kamloops, BC, Kitchener/Waterloo Art Gallery, Kitchener, ON, and Edmonton Art Gallery, Edmonton, AB (1995)
Selected group exhibitions: “Art for a Century, 100 for the 100th,” Art Gallery of Hamilton, Hamilton (2014); “Light My Fire: Some Propositions about Portraits and Photography, Part I,” Art Gallery of Ontario, Toronto (2013); “Freedom of Assembly,” Oakville Galleries, Oakville, ON (2012); “Flat,” Art Gallery of Alberta, Edmonton (2007); “Reflections on the Artist: Portraits and Self Portraits,” National Gallery of Canada, Ottawa (2000)
Selected public collections: Art Gallery of Ontario, Toronto; Bibliothèque Nationale, Paris; the Government of Ontario Collection, Toronto; George Eastman Museum, Rochester, New York; Museum of Fine Arts Boston; Museum of Contemporary Art Kiasma, Helsinki; Victoria and Albert Museum, London; Yale University Art Gallery, New Haven, CT