GENERAL DESCRIPTION
While Erin Shirreff creates works of video, photography, and sculpture, she considers herself—first and foremost— a sculptor. This can be seen in the artist’s unwavering investigation of the sculptural object through other mediums. Shirreff often creates ephemeral maquettes that exist solely for the camera’s eye, dissecting sculptural form in order to highlight the limits of fully experiencing a physical object when it is mediated through visual representation. Here, Shirreff photographed her maquettes—made of painted plaster or cardboard—and then cut the images in half, joining disparate halves to create entirely new works. The result is a disjointed amalgamation of form, material, surface texture, and lighting that speaks to the allure of artifice itself.
Excerpt from
- Anna Katherine Brodbeck, ed., TWO X TWO X TWENTY: Two Decades Supporting Contemporary Art at the Dallas Museum of Art (Dallas: Dallas Museum of Art), 2018, 216.
NOTES
Did not get object file- streamlined process, no provenance. CLC, 12/4/18.
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
AUDIO ASSETS
Image/Object: Panel Discussion with Lucas Blalock, Margaret Lee and Erin Shirreff
25435381: UMO
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
- Guggenheim~Learn more about Shirreff's exploration of the relationships between sculpture and photography.
- Art21~Explore videos, articles, and images surrounding Erin Shirreff and her practice.
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
Apply to objects where number equals 2013.24.A-E
Category
rules_operator
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General Description
While Erin Shirreff creates works of video, photography, and sculpture, she considers herself—first and foremost— a sculptor. This can be seen in the artist’s unwavering investigation of the sculptural object through other mediums. Shirreff often creates ephemeral maquettes that exist solely for the camera’s eye, dissecting sculptural form in order to highlight the limits of fully experiencing a physical object when it is mediated through visual representation. Here, Shirreff photographed her maquettes—made of painted plaster or cardboard—and then cut the images in half, joining disparate halves to create entirely new works. The result is a disjointed amalgamation of form, material, surface texture, and lighting that speaks to the allure of artifice itself.
Excerpt from
- Anna Katherine Brodbeck, ed., TWO X TWO X TWENTY: Two Decades Supporting Contemporary Art at the Dallas Museum of Art (Dallas: Dallas Museum of Art), 2018, 216.
Fun Facts
Archival Resources
Web Resources
- Guggenheim~Learn more about Shirreff's exploration of the relationships between sculpture and photography.
- Art21~Explore videos, articles, and images surrounding Erin Shirreff and her practice.
Notes
Did not get object file- streamlined process, no provenance. CLC, 12/4/18.
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
AUDIO ASSETS
Image/Object: Panel Discussion with Lucas Blalock, Margaret Lee and Erin Shirreff
25435381: UMO
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
2013.24.A-E
source file
object_notes_1_b-0149.xml.nores