The Trial of Anne H is inspired by the female Puritan minister who was exiled from her East Coast settlement for her outspoken views on the Bible and Native American rights. The piece is based on a drawing by Edwin Austin Abbey of Hutchinson's trial, creating a link, perhaps, to the increased politicization of environmental rights.
The Trial of Anne H., 2008
Ellen Sandor & (art)n: Chris Kemp and Thomas Meeker
Carla Gannis
Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas
40 x 30 inches
The Trial of Anne H.
Nascent
Nascent developed as a way of depicting the ancient woman pregnant—maternal, yet engaged with something outside of herself. She is pregnant not just literally, but with some idea of a future woman, one as yet uncoiled. In the globe, an adult woman is seen in a fetal position, which is represented again in the predella below in a sequence floating along a place filled with water and futuristic architecture. Whether she is seeing the future, her own progeny, or something else in this globe remains a mystery. In the Old Testament, Jezebel was both a mother and a queen.
Nascent, 2008
Ellen Sandor & (art)n: Chris Kemp, Thomas Meeker, Chris Day and Mike Seigel
Carla Gannis
Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas
40 x 30 inches
Ophelia
Ophelia is both a PHSCologram in which the body of a naked woman drifts at the bottom of a sea littered with refuse and drifting fragments of plastic bags. Although visually this plastic waste is seductive, softly reflecting light, these are nevertheless Pelagic plastics, non-biodegradable, now littering our oceans to a life-threatening degree. Ophelia is therefore an ode to loss, not just of youth and love as in Hamlet, but also to our own natural world and the possibility of living harmoniously within it.
Ophelia, 2008
Ellen Sandor & (art)n: Chris Kemp and Thomas Meeker
Claudia Hart
Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas
40 x 30 inches
future, perfect
Future, Perfect, 2008
Claudia Hart
Ellen Sandor & (art)n: Chris Kemp, Mike Siegel, and Chris Day
Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas
20 x 24 inches
Future Perfect plays with multiple references to the Utopian Modernism of the past, established by the Bauhaus in Germany and Chicago, referring to a time when technology aspired toward an egalitarian society, far removed from the contemporary reality of rapid technological innovation that seems to stoke endless fashion-based marketing.
In this scene, a virtual model of Kiki of Montparnasse, who was a painter, performer and muse of Man Ray and Brassaï, 20th century photographers and technological pioneers, reclines upon Mies van der Rohe's Barcelona daybed in the corner of the Farnsworth House, juxtaposed with a self-portrait by Ilse Bing.
Conceptually inspired by the black-and-white distortions of André Kertész, including the famous pose in "Satiric Dancer" in which a woman twists like a human pretzel, this Kiki is meant to be both beauty and beast, post-Modern and perhaps post-Human, in reflection of the chaotic times in which we live.
While Man Ray photographed glamorous actresses like Ava Gardner when he lived in Hollywood, Kiki was the icon of his masterworks. It can easily be said that she truly was the first media star, and a collaborator of the images they created together based on her vibrant persona. Photographs by Man Ray, Brassaï, André Kertész, Ilse Bing and Imogen Cunningham from the Richard and Ellen Sandor Family Collection were used for background research for this project, along with a photograph by Bill Hedrich of the Farnsworth House, designed by Ludwig Mies van der Rohe.
Sally C
Sally C, 2004
Ellen Sandor & (art)n: Keith Miller and Janine Fron
Gero Gries
Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas
30 x 40 inches
Sally B
Sally B, 2004
Ellen Sandor & (art)n: Keith Miller and Janine Fron
Gero Gries
Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas
30 x 40 inches
Bingo
Bingo, 1999
Ellen Sandor & (art)n: Stephan Meyers and Janine Fron
Chris Landreth
Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas
30 x 30 inches
Political Agenda
Political Agenda 1999
Ellen Sandor & (art)n: Fernando Orellana, Nichole Maury and Janine Fron
Charles Csuri and Matthew Lewis, ACCAD, The Ohio State University
Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas
30 x 40 inches
Virtual Bust/Franz K.
Virtual Bust/Franz K., 1993
Ellen Sandor & (art)n: Stephan Meyers and Janine Fron
Chris Landreth
Virtual Photograph/PHSCologram: Cibachrome, Kodalth, Plexiglas
(10 x 8), (30 x 30) inches
the end/Film Still II. Female
Virtual Bust/Franz K., 1993
Ellen Sandor & (art)n: Stephan Meyers and Janine Fron
Chris Landreth & Charles Tappan
Virtual Photograph/PHSCologram: Cibachrome, Kodalth, Plexiglas
(10 x 8), (30 x 30), (48 x 40) inches
PHSCologram: Iris, Kodalth, & Plexiglas tiled mural
(6) 24 x 20 inches
the end/Film Still II. Male
Virtual Bust/Franz K., 1993
Ellen Sandor & (art)n: Stephan Meyers and Janine Fron
Chris Landreth & Charles Tappan
Virtual Photograph/PHSCologram: Cibachrome, Kodalth, Plexiglas
(40 x 30), (24 x 20) inches
Virtual Bust/Roscoe
Virtual Bust/Roscoe, 1993
Ellen Sandor & (art)n: Stephan Meyers and Janine Fron
Brad DeGraff
Virtual Photograph/PHSCologram: Cibachrome, Kodalth, Plexiglas
30 x 30 inches
Virtual Bust/Genie
Virtual Bust/Genie, 1993
Ellen Sandor & (art)n: Stephan Meyers, Janine Fron & Craig Ahmer
Steve Glenn & Mike Fusco, SimGraphics
Virtual Photograph/PHSCologram: Cibachrome, Kodalth, Plexiglas
30 x 30 inches
New Beginnings
New Beginnings, 2004
Ellen Sandor & (art)n: Keith Miller
Zhou Brothers
Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas
30 x 40 inches
Time Gate
Time Gate, 2004
Ellen Sandor & (art)n: Keith Miller
Zhou Brothers
Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas
30 x 40 inches