But the idea of transformation has always been something that I romanticize in a work. I’m cautious of it but I also need it to connect my thoughts with the process of making. That’s really important.
—
Nari Ward
Six Photographs by Tina Barney
Being caught by Tina Barney’s eye is to be familiar, to be loved, to be embraced and to be exposed; torn asunder. What is immutable speaks. It is impossible to be loved without being seen. Which is why most people step back when looking at her photographs.
- Katell le Bourhis by Elizabeth Cannon
- Sylvia Heisel by Jeremy Gilbert-Rolfe
- Mary Gaitskill by Stephen Westfall
- Atom Egoyan with Arsinée Khanjian by Liza Béar
- Anish Kapoor by Ameena Meer
- Jane Campion by Lynn Geller
- Richard Price by Amos Poe
- Eduardo Machado by Stuart Spencer
- Carroll Dunham by Betsy Sussler
- Marlane Meyer by Lance Loud
- Jonathan Lasker by Shirley Kaneda
- Sarah Charlesworth by Betsy Sussler
- Fay Weldon by Craig Gholson
Interviews
Tina Barney, The Landscape, 1988. All Photographs 48 × 60” C Prints. Courtesy Janet Bordon Gallery.
The Conversation, 1987.
The Son, 1987.
The Reception, 1985.
Beverly Jill and Polly, 1982.
Baby, 1989.
Related
Several “black and white studio portraits of pairs—people connected by blood marriage, social, business or other ties,” Mixed Doubles by Teri Slotkin.
Humor, commerce, and family play big roles in Ethridge’s conceptual photography.
MOLLY, MERCY, MADELINE,
MYRA, MAGGIE, MEREDITH,
MARLEY, MAGDA, MARGARET,
MINDY, MILLIE, MAGDALA,
MYRNA, MOIRA, MARIANNE,
MARLA, MAURA, MARIGOLD,
MEGHAN, MARY, MILLICENT,
MAITE, MAPLE, MITZI.
Originally published in
BOMB 30,
Winter 1990
Featuring interviews with Mary Gaitskill, Carroll Dunham, Richard Price, Eduardo Machado, Sarah Charlesworth, Jane Campion, Fay Weldon, Anish Kapoor, Atom Egoyan with Arsinée Khanjian, Katell le Bourhis, and Jonathan Lasker.
