GENERAL DESCRIPTION
Annette Kelm’s curiously staged images often do not distinguish between objects and people, and in her ongoing series of portraits, friends and fellow artists are depicted with the same deadpan style as inanimate objects [2016.16.1, 2016.16.3, 2016.16.5]. Judith, old Masters (2014) features the artist Judith Hopf seated in front of a patterned backdrop made of fabric that features a variety of “old master” paintings. While the context of the fabric would appear to celebrate her fellow artist, Kelm reveals the constructedness of the photograph’s making (pins and duct tape hold the backdrop in place) presenting her friend in a matter-of-fact and somewhat unceremonious fashion. Here, the tension between image and artifice is thus mixed with a dry sense of humor resulting in a strange but captivating portrait.
Adapted from
Gabriel Ritter, DMA unpublished material, 2016.
NOTES
EAS 3/5/2019- Online page showed description for 2016.16.1 because the rule on that page was incorrect. I updated the rule for that page and am hoping the correct description for this page will now display since the rule is accurate.
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
Until 2016: Marc Foxx Gallery, Los Angeles, CA
From 2016: Dallas Museum of Art, purchased from above [1]
[1] previously entered provenance, TMS 2016.16.5
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
Apply to objects where number equals 2016.16.2
Category
rules_operator
AND
General Description
Annette Kelm’s curiously staged images often do not distinguish between objects and people, and in her ongoing series of portraits, friends and fellow artists are depicted with the same deadpan style as inanimate objects [2016.16.1, 2016.16.3, 2016.16.5]. Judith, old Masters (2014) features the artist Judith Hopf seated in front of a patterned backdrop made of fabric that features a variety of “old master” paintings. While the context of the fabric would appear to celebrate her fellow artist, Kelm reveals the constructedness of the photograph’s making (pins and duct tape hold the backdrop in place) presenting her friend in a matter-of-fact and somewhat unceremonious fashion. Here, the tension between image and artifice is thus mixed with a dry sense of humor resulting in a strange but captivating portrait.
Adapted from
Gabriel Ritter, DMA unpublished material, 2016.
Fun Facts
Archival Resources
Web Resources
Notes
EAS 3/5/2019- Online page showed description for 2016.16.1 because the rule on that page was incorrect. I updated the rule for that page and am hoping the correct description for this page will now display since the rule is accurate.
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
Until 2016: Marc Foxx Gallery, Los Angeles, CA
From 2016: Dallas Museum of Art, purchased from above [1]
[1] previously entered provenance, TMS 2016.16.5
AUDIO ASSETS
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
2016.16.2
source file
object_notes_1_a-0046.xml.nores