Astman, Barbara

I as artifact #20, 2014

digital print, unique

35 x 35 in. (88.9 x 88.9 cm)

Astman, Barbara

I as artifact #19, 2014

digital print, unique

35 x 35 in. (88.9 x 88.9 cm)

Astman, Barbara

I as artifact #18, 2014

digital print, unique

35 x 35 in. (88.9 x 88.9 cm)

Astman, Barbara

I as artifact #17, 2014

digital print, unique

35 x 35 in. (88.9 x 88.9 cm)

Astman, Barbara

I as artifact #16, 2014

digital print, unique

35 x 35 in. (88.9 x 88.9 cm)

Astman, Barbara

I as artifact #15, 2014

digital print, unique

35 x 35 in. (88.9 x 88.9 cm)

Astman, Barbara

I as artifact #14, 2014

digital print, unique

35 x 35 in. (88.9 x 88.9 cm)

Astman, Barbara

I as artifact #13, 2014

digital print, unique

35 x 35 in. (88.9 x 88.9 cm)

Astman, Barbara

I as artifact #12, 2014

digital print, unique

35 x 35 in. (88.9 x 88.9 cm)

Astman, Barbara

I as artifact #11, 2014

digital print, unique

35 x 35 in. (88.9 x 88.9 cm)

Astman, Barbara

I as artifact #10, 2014

digital print, unique

35 x 35 in. (88.9 x 88.9 cm)

Astman, Barbara

I as artifact #9, 2014

digital print, unique

35 x 35 in. (88.9 x 88.9 cm)

Astman, Barbara

I as artifact #8, 2014

digital print, unique

35 x 35 in. (88.9 x 88.9 cm)

Astman, Barbara

I as artifact #7, 2014

digital print, unique

35 x 35 in. (88.9 x 88.9 cm)

Astman, Barbara

I as artifact #6, 2014

digital print, unique

35 x 35 in. (88.9 x 88.9 cm)

Astman, Barbara

I as artifact #5, 2014

digital print, unique

35 x 35 in. (88.9 x 88.9 cm)

Astman, Barbara

I as artifact #4, 2014

digital print, unique

35 x 35 in. (88.9 x 88.9 cm)

Astman, Barbara

I as artifact #3, 2014

digital print, unique

35 x 35 in. (88.9 x 88.9 cm)

Astman, Barbara

I as artifact #2, 2014

digital print, unique

35 x 35 in. (88.9 x 88.9 cm)

Astman, Barbara

I as artifact #1, 2014

digital print, unique

35 x 35 in. (88.9 x 88.9 cm)

Barbara Astman, I as artifact, 2008-2014

 

I as artifact is a collection of arresting, face-like constructions isolated by a dense void of deep black. Bearing no specific markers revealing gender, race, or age, the features are intimated by the negative space encased by patterned skin textures.

The eye sockets, whose angular holes don’t suggest a lack of sight, but rather protective veils against complete self-disclosure, dominate the image. The compression of the face onto a flattened surface is relieved by the nose, which provides dimension to the image.  However, it is the mouths that complete the animation of these images. As if paused momentarily while speaking, or singing, or exclaiming, there is an almost overwhelming cacophony of resounding silence.  It is in this moment that their individuality appears.

 

These masks look out of the dark and take command of the entire picture space to create a universal micro- world. This dynamic tension is made especially palpable by the indeterminate vantage point. Are we witnesses to these translucent forms, or are we inhabiting them? When encountering other beings, we would normally use learned, socially acceptable inquiry to detect the underlying nature of their character. If the mask is ours, then like all masks, it becomes an extension of the face, a protective barrier against others reading the multitude of innate consistencies and contradictions. Implicit in this anonymity is the potential catalyst into a secret cosmos of psychological fantasy.

“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.