fotografen Anderson-Staley, Keliy (USA)

Werke infocusgalerie burkhard arnold

  • Keliy Anderson-Staley, Kevin, 2009
  • Keliy Anderson-Staley, Kevin, 2009

    Keliy Anderson-Staley, Kevin, 2009, unique Tintype, signed, dated, 20 x 25 cm. Please contact gallery for price.

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  • Keliy Anderson-Staley, Alison, 2009
  • Keliy Anderson-Staley, Alison, 2009

    Keliy Anderson-Staley, Alison, 2009, unique Tintype, signed, dated, 20 x 25 cm. Please contact gallery for price.

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  • Keliy Anderson-Staley, Susie, 2009
  • Keliy Anderson-Staley, Susie, 2009

    Keliy Anderson-Staley, Susie, 2009, unique Tintype, signed, dated, 13 x 17,7 cm. Please contact gallery for price.

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  • Keliy Anderson-Staley, Joe, 2009
  • Keliy Anderson-Staley, Joe, 2009

    Keliy Anderson-Staley, Joe, 2009, unique Tintype, signed, dated, 20 x 25 cm. Please contact gallery for price.



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  • Keliy Anderson-Staley, Jane, 2010
  • Keliy Anderson-Staley, Jane, 2010

    Keliy Anderson-Staley, Jane, 2010, unique Tintype, signed, dated, 20 x 25 cm. Please contact gallery for price.

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  • Keliy Anderson-Staley, Jeff, 2010
  • Keliy Anderson-Staley, Jeff, 2010

    Keliy Anderson-Staley, Jeff, 2010, unique Tintype, signed, dated, 20 x 25 cm. Please contact gallery for price.



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  • Keliy Anderson-Staley, Kaely, 2010
  • Keliy Anderson-Staley, Kaely, 2010

    Keliy Anderson-Staley, Kaely, 2010, unique Tintype, signed, dated, 20 x 25 cm. Please contact gallery for price.



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  • Keliy Anderson-Staley, Helen, 2009
  • Keliy Anderson-Staley, Helen, 2009

    Keliy Anderson-Staley, Helen, 2009, unique Tintype, signed, dated, 20 x 25 cm. Please contact gallery for price.



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Biographie infocusgalerie burkhard arnold

Keliy Anderson-Staley - Americans: Tintype Portraits

"-Americans" draws attention to the fact that images of ourselves exist within a history of images. Our identities are linked to the visual history of social difference, a history in which photography has not always played an innocent role. Like the photographers of the 1850s, I use hand-poured chemistry that I mix myself according to original recipes, period brass lenses, and wooden view cameras to expose positive images directly onto blackened aluminum and glass. The nineteenth-century collodion process was frequently used for "scientific" ethnographic studies of the human face, many of which were based in racist assumptions about physiognomy. In using this process, I aim to reexamine photography's central role in defining difference.
Although the project evokes the visual language of nineteenth-century ethnography, it frustrates the categorizing impulse we often bring to images in a race-conscious society. Each image in this project presents a face and is titled simply with a first name. The title of the project, "-Americans," alludes to the hyphenated character of American identities (Irish-American, African-American, etc.), while only emphasizing the shared American identity. Therefore, although the heritage of each individual might be inferred from assumptions we make about features and costumes, the viewer is encouraged to suspend the kind of thinking that would traditionally assist in decoding these images in the context of American identity politics.
A large part of my practice as a wet plate photographer includes the involvement of my subjects in the creation of the images that represent them. They choose their own clothing-whether an old T-shirt with a defining statement, an exposed chest with a tattoo or proudly-worn ethnic dress. The portrait is straightforward, and the sitter knows that it is for my project, that it will become part of a "collection" of images. I photograph them, blemishes and all (which the process readily reveals) and use no props, preventing the viewer from developing too much of a narrative context for each portrait. My ultimate goal is to present a vast collection of faces in all their variety, but without too much specificity, allowing the common human denominator to come to the foreground.

Tintypes
Für die vom französischen Fotografen Adolphe Martin 1853 entwickelte Ferrotypie wurden in den
Vereinigten Staaten ab 1856 verschiedene Patente angemeldet. Man nannte sie hier gemeinhin
«Tintype». Mit diesem Direktpositiv-Verfahren erhielt man Unikate, dank einer lichtempfindlichen Schicht, die nicht auf eine Glasplatte, sondern auf ein schwarz oder braun lackiertes Metallblech aufgetragen wurde. Das preiswerte Verfahren war insbesondere in den 1860er und 1870er Jahren gross in Mode und ermöglichte einem breiten Publikum den Zugang zur Porträtfotografie.

Ferrotypie / Tintypes (1855 - ca. 1930)
Tintypes sind als Direktpositiv-Verfahren als „Schnellfotografie" populär geworden. Eine meist mit Asphalt abgedunkelte, schwarz lackierte Eisenblechplatte wird mit einer Kollodiumschicht überzogen, in einem Iod- und Bromsilberbad sensibilisiert, knapp belichtet, fixiert und gewässert. Das Ergebnis ist ein seitenverkehrtes Scheinpositiv: ein Negativ, das aufgrund des dunklen Hintergrunds als Positiv erscheint und stumpfe Lichter aufweist. Die Unikate - in der Regel kleinformatige Porträtaufnahmen - waren schnell und preiswert herzustellen. Da sie unzerbrechlich sind, konnten sie mit der Post verschickt und in der Brieftasche mit sich geführt werden. Ferrotypien waren selten gerahmt, allenfalls wurden sie in einem Pappfutteral aufbewahrt oder in ein Album geklebt. Gegen Ende des 19. Jahrhunderts wurde das manuelle Verfahren durch Automaten ersetzt. Ein 1894 von Conrad Bernitt in Hamburg konstruierter mechanisch betriebener Automat, der Bosco-Automat, gilt als Vorläufer der heutigen Passbild-Automaten. Als „tin types" wurden Ferrotypien in Amerika noch bis in die 1950er Jahre als Jahrmarktsattraktionen gehandelt. 

Ausstellungen infocusgalerie burkhard arnold

Keliy Anderson-Staley

EDUCATION

2006 MFA, Hunter College, New York, NY
2001 BA, Hampshire College, Amherst, MA

ACCOLADES, GRANTS AND RESIDENCIES
2010 
Griffin Prize, Griffin Museum of Photography
Puffin Foundation Grant 
Residency, Light Work Artist in Residence Program, Syracuse, NY (August)
2009
Runner-up, one of five, Aperture Portfolio Prize
Honorable Mention, PhotobookNow Competition. Blurb.com 
Honorable Mention, "People, Places, Things," EnFoco Photography Contest
2008
New York Foundation for the Arts (NYFA). Photography Fellow
Finalist, Duke Center for Documentary Studies/Honickman First Book Prize 
First Prize and Solo Show Recipient, Joyce Elaine Grant Photography Exhibit, Texas Woman's University
Art Gallery, Denton, TX
2007 
Residency, Bronx Museum of the Arts, NY: Artist in the Marketplace 28


SOLO AND TWO-PERSON EXHIBITIONS 
2010 
Off the Grid: Photography of Keliy Anderson-Staley. Susan Maasch Fine Art, Portland, ME 
Photographs by Keliy Anderson-Staley and Jeff Whetstone, Crutchfield Gallery, Johnson C. Smith University, Charlotte, NC 
Keliy Anderson-Staley: Tintype Portraits, Hampshire College, Amherst, MA
Off the Grid, Texas Woman's University Art Gallery, Denton, TX
Riverside-Americans: Tintypes, California Museum of Photography, Riverside, CA
2009 
Keliy Anderson-Staley: Off the Grid and -americans: Contemporary Collodion Portraits, Curated by Lisa Henry, California Museum of Photography, University of California at Riverside, CA
2006 
Off the Grid: New Photographs, Hunter College Times Square Gallery, New York, NY
2001 
Under Gramma's Porch, A.P.E. Gallery, Northampton, MA 
Corrupted Palimpsest: A Photographic & Sculptural Installation, Hampshire College Main Gallery, Amherst, MA

GROUP AND JURIED EXHIBITIONS

2011 
Contemporary American Portraits. In Focus Gallery, Cologne, Germany (opens Jan 6)
2010
Environmental Photography, The Print Center, Philadelphia, PA (upcoming)
Photography: Gerlovin, Levy, Folberg, Weems, Anderson-Staley, Flomenhaft Gallery, New York, NY 
Portraits, RayKo Art Center, San Francisco, CA
Recent Acquisitions from the Collection of Allen Thomas. Wilson Arts Council. Spring Hope, NC
Hampshire College 40th Anniversary Alumni Exhibition, Hampshire College, Amherst, MA 
84th Annual International Competition. The Print Center, Philadelphia, PA. Winner: Photo Review Award
84th Annual International Competition. Long Beach Island Foundation of the Arts and Sciences, Loveladies, NJ
AIPAD, John Cleary Gallery, New York, NY
Going Forward Looking Back, Practicing Historic Photographic Processes in the 21st Century, Trustman Art Gallery, Simmons College, Boston, MA
Going Forward Looking Back, Practicing Historic Photographic Processes in the 21st Century, University Art Gallery, UMASS/Dartmouth, New Bedford, MA
Going Forward Looking Back, Practicing Historic Photographic Processes in the 21st Century, Maine Media Workshops, Rockport, ME
2009 
Connections, Jenkins Johnson Gallery, Curated by Lisa Henry, San Francisco, CA and New York, NY
Going Forward Looking Back, Practicing Historic Photographic Processes in the 21st Century, University of New England Art Gallery, Portland, ME
Fractions of Sight, Rockland Center for the Arts, Nyack, NY
Portraits, Center for Fine Art Photography, Denver, CO Juror: Mary Ellen Mark
The Business of Art, University of New England Art Gallery, Portland, ME
Dux Femina Facti: A Woman is in Charge, Susan Maasch Fine Art, Portland, ME
Joyce Elaine Grant Photography Exhibit, Texas Woman's University Art Gallery, Denton, TX
Currents in Contemporary Photography, Flanders Art Gallery, Raleigh, NC
What Surrounds Us: Finding and Making Home, Ernest Rubenstein Gallery at the Educational Alliance, New York, NY
2008 
Outside Over There, Aferro Gallery, Newark, NJ
Second Annual Photography Re-imagined, Tilt Gallery, Phoenix, AZ
How Soon Is Now? AIM 28 Exhibit, The Bronx Museum of the Arts, Bronx, NY 
Found at Fotofest, John Cleary Gallery, Houston, TX
Resurrection, 23 Sandy Gallery, Portland, OR
Want, Dana Warp Mill Gallery, Westbrook, ME
Traces and Avenues: a selection from Moment Magazine: Une Revue de Photo, Safe-T-Gallery, Brooklyn, NY 
Small Packages, Clarabella Gallery, New York, NY
2007 
Sun Pictures to Mega Pixels, Williamsburg Art & Historical Center, Brooklyn, NY
Space Stories, Chashama Times Square Gallery, New York, NY
How Women Look, Safe-T-Gallery, Brooklyn, NY
Small Works, NYU 80 Washington Square E Gallery, New York, NY
Re-mix: Contemporary Artists, Classic Techniques, Zero Station, Portland, ME

Bibliographie infocusgalerie burkhard arnold

Keliy Anderson-Staley

PUBLICATIONS AND ONLINE PRESENTATIONS
2010
"Couples," Esquire Russia, November.
"Young Art Dealers on the Rise," Art + Auction, September.
"Hive Minded: Urban Beekeeping," Hemispheres Magazine, August.
"Exposures: Keliy Anderson-Staley's Off the Grid," Photo District News, July
"Lisa and Ariel," Flak Photo, June 4
"Off the Grid." Ahorn Magazine. Issue 5.
"Sasha and Meghan in their Houseboat on the Gowanus Canal." Ode to the Gowanus Canal. City Room. New York Times online.
"Away from Here." F-Stop Magazine. Feb issue.
2009
"Tintypes of NYC's Best Doctors," New York Magazine, June 15 Issue
"Off The Grid," Podcast. Daylight Magazine. Daylightmagazine.org
"Emily on Her Stoop" Flak Photo, Nov 25
2008
"Off the Grid." Photo Essay. Camerawork. San Francisco, CA. Text by Melanie Light
"Ambrotype & Tintype Portraits." Moment Magazine: Une Revue de Photo. New York, NY: Vol. 2 No. 4
Martin Luther King "I Have a Dream" Speech Anniversary Issue. RISE UP Magazine. Kansas City, MO.