Dreaming Impressionism, 1998

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Astman, Barbara

Dreaming Impressionism, Double Faced, 1998

digital output on canvas

31 x 69 in. (79 x 175 cm)

Astman, Barbara

Dreaming Impressionism, Female Head with Hand, 1998

electrostatic transfer

13 x 19 in. (33 x 48 cm)

Astman, Barbara

Dreaming Impressionism, Gazing Woman, 1998

ektacolour mural

29 x 57 in. (74 x 145 cm)

Astman, Barbara

Dreaming Impressionism, Still life with Pears, 1998

electrostatic transfer

13 x 19 in. (33 x 48 cm)

Astman, Barbara

Dreaming Impressionism, Still life with Fruit, 1998

electrostatic transfer

13 x 19 in. (33 x 48 cm)

Astman, Barbara

Dreaming Impressionism, Double Male Gaze, 1998

electrostatic transfer

13 x 19 in. (33 x 48 cm)

Astman, Barbara

Dreaming Impressionism, Paintbrush & Man with Beard, 1998

electrostatic transfer

13 x 19 in. (33 x 48 cm)

Astman, Barbara

Dreaming Impressionism, Fingerpointing, 1998

electrostatic transfer

22 x 30 in. (56 x 76 cm)

Astman, Barbara

Dreaming Impressionism, Red Head Flying, 1998

ektacolour mural

13 x 19 in. (33 x 48 cm)

Astman, Barbara

Dreaming Impressionism, Tahitian Woman Gazing at Back, 1998

electrostatic transfer

13 x 19.5 in. (33 x 50 cm)

Astman, Barbara

Dreaming Impressionism, Tahitian Woman Gazing at Back, 1998

electrostatic transfer

13 x 19.5 in. (33 x 50 cm)

Astman, Barbara

Dreaming Impressionism, Torso, 1998

electrostatic transfer

13 x 19.5 in. (33 x 50 cm)

Astman, Barbara

Dreaming Impressionism, Touching Yellow, 1998

digital output on canvas

3.6 x 5.6 ft. (1 x 1.7 m)

Astman, Barbara

Dreaming Impressionism, Still life with Tea Pot, 1998

electrostatic transfer

13 x 19 in. (33 x 48 cm)

Barbara Astman
Dreaming Impressionism, 1999

 

Barbara Astman is a photo-based artist and educator.  She teaches experimental concepts and techniques in photography at Ontario College of Art and Design.  In Dreaming Impressionism she has created striking, innovative large-scale canvases. 

 

Appropriating familiar images from old masterworks, Barbara Astman reinterprets conventional concept of female portraiture.  This series re-examines Impressionism –images that had profoundly influenced the artist in her formative years – by recontexualizing the subject and the thematic focus of traditional paintings.  Barbara Astman’s Dreaming Impressionism centers on hands, bodies and faces of the subjects, shifting the viewer’s gaze and eliciting a different response in its viewing.

 

These works, rich and saturated with colour, defy classification: Are they paintings?  But the texture of the surface is “double faced”, according to Barbara Astman.  The works incorporate photographs, polaroids, ink and computer graphics – a process that results in a seamless layering of images.  

 

“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.