"Penelope Umbrico devises systems in which image, object, or information is excised and re-contextualized. Taking the parts of images that are used in consumer media as peripheral
devices to elicit desire, Umbrico points to the construct of desire by making these fragments into the desired object." This was how the artist lecture for Penelope Umbrico was advertised for on campus. Initially, I was very intrigued about her work. I am currently trying to devise a project based around consumerism.
I'd like to name her the "Bad Girl of Photography," due to her claims of purposely trying to do everything wrong. The reason for this is that all of her work is somehow appropriated. She samples hundreds of images from magazines, catalogs and the Internet. One of her works in particular, "Suns from Flickr," consists of a collection of 2,000 or so sun images she has found via Flickr. None of these images are her own. The final piece is truly stunning, a collage of vivid colors and bright orbs. However, knowing that she has appropriated these images, my feelings for her work have changed. I can't quite put a finger on it, I don't know if I am offended or upset, but something about it doesn't sit right with me. Umbrico acknowledges that her work is controversial, but doesn't seem to show any remorse for her process.
Another one of her pieces that I enjoyed was her work based on Home Improvement. Umbrico explained about how after 9/11 she had discovered that stock had decreased in every category except Home Improvement and Arts and Crafts. This somehow inspired her to meticulously search through Home Improvement catalogues such as Potterybarn and Crate and Barrel for various motifs. She had a particular interest towards mirrors, windows, casually flung clothing and books. I really enjoyed her language when she discussed this work. She described the mail catalogues as, "invasive, intervening into your home without your permission." Therefore she was determined to photograph or use the photographs in a way to display them as viruses. This part of lecture really stuck to me, because it was very similar to the discussion I had with Jeff only a few days ago.
My favorite piece is her "Mirror (from catalogs) 2002-2007. These were images that she took directly from the mail-order catalogues and brochures which displayed idealized room suits. She then scanned the mirrors, and then enlarged the images to the dimensions of the actual size of the mirror being sold in the catalogue. They were then printed on Plexiglass. Umbrico explained this series as her interest in the profound sense of disappearance when there is a lack of mirrors.
Umbrico states, "While the mirrors in the catalogs serve to locate the viewer within the space by reflecting what would be behind him/her, all the seductive trappings arranged in the mirror's reflection become surrogates for the missing reflection of the viewer-the viewer witnesses his/her own disappearance and replacement by sell able objects." While she was explaining this, I was completely fascinated in the small details found in the reflection of these mirrors. I mainly found glimpses of a garden or a flower stem. I found that this particular display of mirrors gave the viewer a sense of voyeurism. There was something enticing about the minimal information that could be obtained within these mirrors.
I don't agree with Umbrico's process for her artistic pieces but I was very impressed by her work. She has inspired me to look into different materials and sources to create artwork. Here are some images of her work:
devices to elicit desire, Umbrico points to the construct of desire by making these fragments into the desired object." This was how the artist lecture for Penelope Umbrico was advertised for on campus. Initially, I was very intrigued about her work. I am currently trying to devise a project based around consumerism.
I'd like to name her the "Bad Girl of Photography," due to her claims of purposely trying to do everything wrong. The reason for this is that all of her work is somehow appropriated. She samples hundreds of images from magazines, catalogs and the Internet. One of her works in particular, "Suns from Flickr," consists of a collection of 2,000 or so sun images she has found via Flickr. None of these images are her own. The final piece is truly stunning, a collage of vivid colors and bright orbs. However, knowing that she has appropriated these images, my feelings for her work have changed. I can't quite put a finger on it, I don't know if I am offended or upset, but something about it doesn't sit right with me. Umbrico acknowledges that her work is controversial, but doesn't seem to show any remorse for her process.
Another one of her pieces that I enjoyed was her work based on Home Improvement. Umbrico explained about how after 9/11 she had discovered that stock had decreased in every category except Home Improvement and Arts and Crafts. This somehow inspired her to meticulously search through Home Improvement catalogues such as Potterybarn and Crate and Barrel for various motifs. She had a particular interest towards mirrors, windows, casually flung clothing and books. I really enjoyed her language when she discussed this work. She described the mail catalogues as, "invasive, intervening into your home without your permission." Therefore she was determined to photograph or use the photographs in a way to display them as viruses. This part of lecture really stuck to me, because it was very similar to the discussion I had with Jeff only a few days ago.
My favorite piece is her "Mirror (from catalogs) 2002-2007. These were images that she took directly from the mail-order catalogues and brochures which displayed idealized room suits. She then scanned the mirrors, and then enlarged the images to the dimensions of the actual size of the mirror being sold in the catalogue. They were then printed on Plexiglass. Umbrico explained this series as her interest in the profound sense of disappearance when there is a lack of mirrors.
Umbrico states, "While the mirrors in the catalogs serve to locate the viewer within the space by reflecting what would be behind him/her, all the seductive trappings arranged in the mirror's reflection become surrogates for the missing reflection of the viewer-the viewer witnesses his/her own disappearance and replacement by sell able objects." While she was explaining this, I was completely fascinated in the small details found in the reflection of these mirrors. I mainly found glimpses of a garden or a flower stem. I found that this particular display of mirrors gave the viewer a sense of voyeurism. There was something enticing about the minimal information that could be obtained within these mirrors.
I don't agree with Umbrico's process for her artistic pieces but I was very impressed by her work. She has inspired me to look into different materials and sources to create artwork. Here are some images of her work:
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