Barbara Astman

Daily Collage, 2011

 

Barbara Astman developed Daily Collage out of her ongoing habit of reading the daily newspapers, as interested in the visual imagery as the newsworthy articles.  She made a collage everyday in her small notebook from cutting and pasting these disparate images and outputting them digitally.

 

The collages do not attempt to create logical narratives nor do they attempt to comment on the news of the day. Instead, Astman playfully harnesses seemingly disparate visual material creating juxtapositions which comment on the proliferation and total saturation of modern media.  Random images of consumption (a cold beer, a slice of pizza, and a diamond ring) are placed next to government figures and celebrities, all there to be digested on an equal plane, the stuff of trivia.  Geopolitical figures are displayed in a casual note-book format.  Astman is interested in how images from the media inform our thoughts. The ghosting from one page to the next provides the idea that news is a continuum.

 

Astman responds to the images with a quick intuitive approach.  The result is a series of improvised compositions hinting at the gluttony of our media environment while maintaining editorial distance.  The work expands on some of the ideas explored in her previous 2006 series: Newspaper. Astman is interested in society's obsession with media as well as her own.

 

“Barbara Astman’s career has spanned more than 23 years of photo-based media innovations, but has always been about more than the lure of new technology. Astman’s staged and sequential work suggests issues of identity, systems of representation, gender perspectives and the anti-narrative of popular irony.” - Ihor Holubizky, art/text 1998

 

“In the early 1980s, there was a clear delineation between what was considered photography and what was classified as art, and I felt I didn’t fit into either category. That is when I started calling myself a camera artist--one that was working within the contemporary art world as a whole.” - Barbara Astman

Whether household wares or store-bought novelty items such as key-chains, mugs, and ashtrays, much of Barbara Astman’s work involves the use of objects. Imbuing these with memories and histories by means of her artistic process, she dematerializes the material and makes personal the impersonal. In installations such as Clementine Suite (2006) and Enter Through the Giftshop (2011), or series such as Newspapers (2006) and The Red Series (1981), she explores the role that mundane objects play in forming our personal and collective histories while commenting on our consumer culture. Astman was one of the first to utilize the polaroid in her art, treating the medium more like a three-dimensional, malleable material than a flat, two-dimensional surface. She often photographs self-portraits that have been carefully choreographed, so that her image becomes removed from reality: a symbol of a constructed memory. Then, in a process of scratching into, enlarging, Xerox-ing or printing over, the photograph is further removed from a document, becoming closer to an object itself.

Barbara Astman creates photographic series that target the personal world through recollection or revelation. Her early work responds to contemporary feminist issues by incorporating humor and stereotypes to challenge the roles of women domestically and in the work place. Her large-scale photographs from the early 1980s are striking in their bold, unusual use of color and scale.

 

Throughout her career, Astman pioneered the artistic use of both analogue and digital reproduction techniques. She is among the first to discover and explore the technological practices and concepts that are key signifiers in contemporary art.

 

Born in Rochester NY, Astman studied at the Rochester Institute of Technology in the late 1960s when multi-media practices were the hotbed for artistic innovation. Astman came to Canada in 1970 during the wave of draft dodgers from the Vietnam War. Since the mid 1970s she has been a professor at the Ontario College of Art and Design in Toronto.