Tracey Snelling

from Wikipedia, the free encyclopedia

Tracey Snelling (* 1970 in Oakland ) is an American contemporary multimedia artist.

Career

While taking photography classes in Northern California, Snelling found access to alternative photographic processes and the work of contemporary artists. There she began to experiment with photography for the first time. She then spent several years working for the California Conservation Corps , an environmental and fire protection initiative, and then studying fine arts at the University of New Mexico . In order to be able to finance her studies, she worked as a firefighter for the US Forest Service .

After her studies she worked primarily as an artist and worked with the media of photography and collage, with which she was very experimental. For example, mixed techniques were used, such as painting over everyday pictures and photographs or including negatives to create a surreal atmosphere. Her photo collage 1881 Chestnut Street, an expanded 2D representation of a New York sandstone house, which is composed of snippets from a LIFE magazine from the 1940s, inspired her first series of building-type sculptures.

Snelling has exhibited in galleries, museums and institutions internationally. These include the Royal Museums of Fine Arts , Belgium, the Royal Palace , Milan, the Museum of Arts and Design, New York (MAD) , the Krefeld Art Museum , the Miguel Urrutia Art Museum (MAMU), Bogota, and the Stenersen Museum , Oslo.

Her films have been shown at the  San Francisco International Film Festival , the Thessaloniki International Film Festival , the Circuito Off , Venice and the Arquiteturas Film Festival Lisboa in Portugal.

Snelling lives and works in Oakland, California and Berlin.

Works

Snelling's works with sculpture, installation, video and photography are inspired by themes of sociology, voyeurism and both graphic and architectural locations. Her works express the experiences people have in different places.

  • In 2005 El Mirador was created , a small-format sculpture of an Abode Hotel with six windows. Behind the work, a DVD player showed a montage of film scenes which, when cut together, gave the impression of interacting with one another. The original El Mirador was about 51 cm high, but for a solo exhibition in London Snelling developed a nearly two-meter high version of the work called Big El Mirador . The work was also shown at the Sundance Film Festival and Oakland Underground Film Festival. When El Mirador was exhibited at Art Basel 2006, the Miami New Times wrote that Snelling's work exuded a surreal aura that was imbued with poignant unhappiness. She toyed with the viewer's desire to interfere with the emotional life of a stranger, as if Snelling were trying to deter people from indulging in others or in imperfect things.
  • In 2007 Snelling's models were exhibited in London under the title “Dulces”.
  • Snelling, who originally used found footage in her video work, used original video recordings in 2008 in the large-format installation Woman on the Run , which was commissioned by the Selfridges department store chain . In this installation the artist herself appeared and appeared as characters with some friends. In collaboration with her co-producer Idan Levin, she also added new elements to each subsequent exhibition. The first exhibition in London was followed by five other exhibitions in various museums in the United States.
  • Her cycle of works, Mystery Hour , was published in 2013 . The works include large-format posters and elaborately designed architectural models; ArtForum compares these with archetypal worlds from films of the middle and lowbrow genres and imaginary B-movies, whose premises are both terribly and enticingly ridiculous.
  • In the video work The Stranger , a nearly five-minute film from 2015, she worked again with Levin. In the film, which deals with the phenomena of belonging and identity, two poems are recited, one of which is performed in English and Spanish and the other in Hebrew and Arabic, each of which is accompanied by subtitles.
  • Her multimedia installation One Thousand Shacks (2016) also deals with the different, precarious circumstances of people in extreme poverty. The walls of the miniature huts measure 4.9 × 3 m and were made from photographs, wire, wood and similar materials, among other things. The individual huts are intended to represent the people who live in agonizing living conditions, not portrayed as helpless victims, but rather as bold and hopeful members of society.
  • A variation of One Thousand Shacks was also part of the Naked City exhibition in the Krupic Kersting gallery in Cologne and was exhibited under the title Tenement Rising . This exhibition took place at the end of 2016.
  • Snelling's Criminal City, a commissioned work for the Frankfurt Historical Museum , will open in autumn 2017. In this project, the artist will deal with the criminal image of the city of Frankfurt and present her work as one of eight characteristics of Frankfurt on the museum screen. The focus is on the red light district and the police in action, the detective Tudor advertising and also the Hauptwache café, which as an ensemble create an “impression of wickedness”. From July 1, 2017 to April 30, 2018, Tracey Snelling is also a scholarship holder at Künstlerhaus Bethanien in Berlin.

Prizes and awards

  • 2015: Painters & Sculptors Grant from the Joan Mitchell Foundation

Web links

Individual evidence

  1. ^ Voyeuristic Artist Tracey Snelling Reminds Us To Look Closer . In: The Establishment , November 19, 2015. Retrieved September 26, 2017. 
  2. ↑ a b Tracey Snelling: An Urban Narrative . In: ArtPulse , February 1, 2013. Retrieved September 26, 2017. 
  3. ↑ a b Tracey Snelling's Bordertown Romance (Eng.) . In: East Bay Express , July 21, 2010. Retrieved September 26, 2017. 
  4. ^ Tracey Snelling, New Image Art, West Hollywood (Eng.) . In: Juxtapoz , January 16, 2016. Retrieved September 26, 2017. 
  5. ↑ a b All Politics Is Loco . In: Miami New Times , December 28, 2006. Retrieved September 26, 2017. 
  6. ^ Tracey Snelling - Fellows - ZK / U Berlin. Retrieved September 27, 2017 (English).
  7. ↑ Tracey Snelling: Dulces Opens in London . In: Art Daily , April 30, 2007. Retrieved September 26, 2017. 
  8. ↑ Spark: Tracey Snelling . In: KQED , August 4, 2006. Retrieved September 26, 2017. 
  9. ↑ Heidi Bürklin: Tracey Snelling with Amelie v. Wedel in London . In: THE WORLD . April 13, 2007 ( welt.de [accessed September 27, 2017]).
  10. ↑ TRACEY SNELLING. Retrieved September 27, 2017 .
  11. ^ VernissageTV Art TV - Tracey Snelling: The Naked City / Krupic Kersting Gallery, Cologne. Retrieved September 27, 2017 (American English).
  12. ↑ a b Frankfurter Rundschau: Typically Frankfurt: "Is Frankfurt a criminal city?" In: Frankfurter Rundschau . ( fr.de [accessed on September 8, 2017]).
  13. ↑ KB | Tracey Snelling. Retrieved September 8, 2017 .
  14. ^ Joan Mitchell Foundation: Joan Mitchell Foundation News & Events Joan Mitchell Foundation announces the 2015 Painters & Sculptors Grant Recipients. Retrieved September 27, 2017 (English).
personal data
SURNAME Snelling, Tracey
BRIEF DESCRIPTION American multimedia artist
DATE OF BIRTH 1970
PLACE OF BIRTH Oakland