Nearsofar, Impatient #9, Barbara Astman, 2000

Astman, Barbara

Nearsofar, Impatient #9, 2000

mural on Fuji Crystal Archive photo paper

28 x 32 in. (71 x 81 cm)

Major Impatients #11, Barbara Astman, 2000

Astman, Barbara

Nearsofar, Major Impatients #11, 2000

mural on Fuji Crystal Archive photo paper

27.25 x 31.25 in. (69 x 79 cm)

Minor Rhubarb #8, Barbara Astman, 2000

Astman, Barbara

Nearsofar, Minor Rhubarb #8, 2000

mural on Fuji Crystal Archive photo paper

27.25 x 31.5 in. (69 x 80 cm)

Cyclamen #3, Barbara Astman, 2000

Astman, Barbara

Nearsofar, Cyclamen #3, 2000

mural on Fuji Crystal Archive photo paper

40.5 x 27.25 in. (103 x 69 cm)

Major Impatients #2, Barbara Astman, 2000

Astman, Barbara

Nearsofar, Major Impatients #2, 2000

mural on Fuji Crystal Archive photo paper

26.5 x 62 in. (67 x 157 cm)

Rhubarb #6, Barbara Astman, 2000

Astman, Barbara

Nearsofar, Rhubarb #6, 2000

mural on Fuji Crystal Archive photo paper

26 x 63.25 in. (66 x 161 cm)

Lily Pad #4, Barbara Astman, 2000

Astman, Barbara

Nearsofar, Lily Pad #4, 2000

mural on Fuji Crystal Archive photo paper

27.5 x 55.25 in. (70 x 140 cm)

Wild Vine #12, Barbara Astman, 2000

Astman, Barbara

Nearsofar, Wild Vine #12, 2000

mural on Fuji Crystal Archive photo paper

27.75 x 50.75 in. (70 x 129 cm)

Hibiscus #5, Barbara Astman, 2000

Astman, Barbara

Nearsofar, Hibiscus #5, 2000

mural on Fuji Crystal Archive photo paper

28 x 46 in. (71 x 117 cm)

Iris #7, Barbara Astman, 2000

Astman, Barbara

Nearsofar, Iris #7, 2000

mural on Fuji Crystal Archive photo paper

27.75 x 45.5 in. (70 x 116 cm)

BARBARA ASTMAN creates photographic series that target the personal world through recollection or revelation. Her early work responds to contemporary issues by incorporating humor and stereotype. Her oversize 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 multimedia 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.