Tina Barney by yurtgc548


									Tina Barney
Brief Biography

Born 1945 in New York City

Grew up in a well-to-do upper-middle class family
Pretty unafflicted childhood

Started taking snapshots of her family in mid-70s as a housewife
        These were done with 35mm black and white
        Produced spontaneous-looking images of various moments
        in the lives of her family and friends.

Began using large format in early 1980s- one of the first photographers of
this format.

Her photographs are known for their intimacy, their immediacy, their well-
crafted composition- rich in detail and color. Their lack of emotion
(“humanity”), and their large scale.
“How people treat each other is more interesting
than the class they come from.”
Sunday New York Times, 1982
Jill and Polly in Bathroom, 1987
The Bridesmaid, 1994
Jim and Phil at Graduation, 1985
“When people say that there is a distance, a stiffness in
my photographs, that the people look like they do not
connect, my answer is, that this is the best we can do.
This inability to show physical affection is in our heritage.”
Marina’s Room, 1987
Marina and Peter, 1997
“The human gesture is one of the great
loves of my life.”
Shift in photographic style over 20+ years:
         Brings camera closer to her subjects.
         Subjects’ interaction with the camera:
                  - new awareness of camera
                  - confrontation of camera

Mother and Son, 1990
The French Family, 2002
The Dining Hall, 2001
The Tapestry, 1996
Graham Cracker Box, 1984
"How can one photograph possibly
explain a relationship?"
Father and Sons, 1996
The Daughters, 2003
Jill and I, 1993
Julianne Moore and Family, 1999
The Yellow Wall, 1996
The Dirndls, 2004
“Is this fear of the inevitability of that final, drastic
loneliness what instigated this obsessively frantic
insistence to mark every living inch of life so as to not
miss one detail. And with a stubbornness that I was
born with, I demand that you take notice, and not look
over, and never forget.”

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