Sandy Skoglund
| Sandy Skoglund | |
|---|---|
| Born |
September 11, 1946 Weymouth, Massachusetts, U.S. |
| Nationality | American |
| Education | Smith College, Massachusetts / University of Iowa, Iowa |
| Known for | Photography, Sculpture, Installation |
| Notable work |
Radioactive Cats (1980) Sock Situation (1986) The Cocktail Party (1992) Shimmering Madness (1998) Raining Pop Corn (2001) |
| Movement | Photo Surrealism |
Sandy Skoglund (born September 11, 1946) is an American photographer and installation artist.
Skoglund creates surrealist images by building elaborate sets or tableaux, furnishing them with carefully selected colored furniture and other objects, a process of which takes her months to complete. Finally, she photographs the set, complete with actors. The works are characterized by an overwhelming amount of one object and either bright, contrasting colors or a monochromatic color scheme.
Skoglund was born in Weymouth, Massachusetts in 1946. She spent her childhood all over the country including the states Maine, Connecticut, and California. She studied both art history and studio art at Smith College in Northampton, Massachusetts, graduating in 1968. In 1967, she studied art history through her college's study abroad program at the Sorbonne and École du Louvre in Paris, France. After graduating in 1969, she went to graduate school at the University of Iowa, where she studied filmmaking, multimedia art, and printmaking. In 1971, she earned her Master of Arts and in 1972 a Master of Fine Arts in painting.
In 1972, Skoglund began working as a conceptual artist in New York City. She became interested in teaching herself photography to document her artistic endeavors, and experimenting with themes of repetition. She was interested in dealing with repetitive, process-oriented art production through the techniques of mark-making and photocopying. In 1978, she had produced a series of repetitious food item still life images. Skoglund's works are quirky and idiosyncratic, and as former photography critic for The New York Times Andy Grundberg describes, they "evoke adult fears in a playful, childlike context".
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