Short Biography of Duane Michals as found on www.artfact.com
(b McKeesport, PA, 18 Feb 1932). American photographer. He had no formal training but recognized his photographic aptitude when he took his first pictures as a tourist in the USSR in 1958. By 1960 he was earning his living through commercial work, including portraiture and fashion photography. In 1964, weary of the demands of photographing people, Michals responded to Eugène Atget’s pictures of depopulated Paris with his own views of empty New York shop interiors, which seemed to him like stage sets waiting to be animated. In 1966 he began to produce sequences depicting enigmatic encounters in a static setting as if in the frames of a film (pubd in Sequences , New York, 1970). These were inspired by the erotically charged domestic dramas painted by Balthus, whose canvas The Street (1933; New York, MOMA) served as the model for Michals’s first staged photograph. In order to accommodate the increasing elaboration of his narratives and often metaphysical themes, Michals began to write on the surfaces of such photographs as Private Acts.
(b McKeesport, PA, 18 Feb 1932). American photographer. He had no formal training but recognized his photographic aptitude when he took his first pictures as a tourist in the USSR in 1958. By 1960 he was earning his living through commercial work, including portraiture and fashion photography. In 1964, weary of the demands of photographing people, Michals responded to Eugène Atget’s pictures of depopulated Paris with his own views of empty New York shop interiors, which seemed to him like stage sets waiting to be animated. In 1966 he began to produce sequences depicting enigmatic encounters in a static setting as if in the frames of a film (pubd in Sequences , New York, 1970). These were inspired by the erotically charged domestic dramas painted by Balthus, whose canvas The Street (1933; New York, MOMA) served as the model for Michals’s first staged photograph. In order to accommodate the increasing elaboration of his narratives and often metaphysical themes, Michals began to write on the surfaces of such photographs as Private Acts.
No comments:
Post a Comment