selections from
memories spaces time: memories
Detail: Memories Untitled (skinned) XXVI 1992, silver print fragments and map pins, 14”x11,” 1/3, Private Collection
“At the center of Sandrow’s work is the subject of the body. In Memories (1992), photographs of the fragmented body – torsos and hands – suggest indelible afterimages of brutality. The most self-consciously autobiographical of Sandrow’s work, the series alludes to rape and sexual assault.
Sandrow skinned the shiny emulsion from the photographic paper to heighten the effect of fragility and pain.”
— Eugenie Tsai, Curator, Whitney Museum, Water Life, (1998)
Download the exhibition catalogue: Fragments: Self/History
SECCA, South East Center for Contemporary Art, Winston, North Carolina
Curators: Susan Lubowsky Talbott and Jeff Fleming
See exhibition and press list below.
"Memories Untitled (skinned) XXVI," 1992, silver print fragments and map pins, 14”x11” 1/3 Private Collection
"Memories Untitled (skinned) XXVI," 1992, silver print fragments and map pins, 14”x11” 1/3 Private Collection
"Memories Untitled (skinned) XLI" 1992, silver print fragments and map pins, 48” x 60” Collection Metropolitan Museum of Art
"Memories Untitled (skinned) XV," 1994, silver print fragments and map pins, 14”x11” 1/3 Private Collection
selections from
memories spaces time: spaces
Themes of power and vulnerability, past and present, personal and collective, have engaged Hope Sandrow throughout her artistic career. For Sandrow, art was a way of coping with a difficult childhood in an affluent but emotionally stifling community. Art represented "a more dynamic future — a way of controlling my circumstances." Through photography she recalls, "I could create my own believable reality."
In college, first at Drexel University and then at the Philadelphia College of Art (now the University of the Arts) Sandrow studied photography and film. At first, Sandrow considered film the more interesting of the two fields. But in 1972 women filmmaking majors were a rarity at American universities, and the resistance Sandrow encountered from her male professors was overwhelming. Her sole encouragement came from the much-admired professor and photographer, Ray Metzger. His emotional and professional support brought Sandrow through an extremely difficult period. Under Metzger's tutelage, Sandrow committed herself to making photographic images. He taught her to develop her own vision — one based on concepts of light and movement, rooted in experimentation.
excerpt from the catalogue—- Susan Lubowsky Talbott
Installation: South East Center for Contemporary Art (SECCA), Winston, North Carolina, 1995
Installation: South East Center for Contemporary Art (SECCA), Winston, North Carolina
"Study for Spaces, Untitled VI," 1994, silver-print fragment, 18-1/2 x 22-3/4" NA (unique) collection of the artist
Spaces, Untitled VI, 1994, silver-print fragments, 48 '/z x64 inches, private collection
selections from
memories spaces time: time
Essay by Max Kozloff, June 1997
"Memories Spaces Time/Time XII," 1997, Iris Prints on Handmade Kozo Paper 48.5”x 33” 1/5 1997
"Memories Spaces Time/Time XIII," 1997, Iris Print on Handmade Kozo Paper 40.5”x 27” 1/5 Private Collection 1997
"Memories Spaces Time/Time XVI," 1997, Iris Print on Handmade Kozo Paper 40.5”x 27” 1/5 Private Collection 1997
"Memories Spaces Time/Time XXV," 1997, Iris Prints on Handmade Kozo Paper 48.5”x 33” 1/5 1997
SOLO EXHIBITIONS (selected)
1997
Hope Sandrow New Work University of the Arts, Philadelphia, PA
*Hope Sandrow Memories Spaces Time Steven Kasher Gallery, essay by Max Kozloff
1994-95
*Hope Sandrow Fragments: Self/History, Artist in the Community Southeastern Center for Contemporary Art, curated by Susan Lubowsky Talbot, and Jeff Fleming, Winston Salem, N.C.
GROUP EXHIBITIONS (selected)
1998 Bodies in Flux curated by Nancy Doll, Weatherspoon Art Gallery, Greensboro, North Carolina.
1997 *Rage/Resolution curated by Laura Kruger, Hebrew Union College, NYC
1995 *Fragments curated by Geno Rodriguez, Alternative Museum, NYC
*Inside Out curated by Marc J. Straus, Richard Klein, Douglas F. Maxwell, and Harry Philbrick Aldrich Museum of Contemporary Art, Ct.
*The Subject of Rape curated by Whitney Museum Independent Study Program Monica Chau, Hannah J. L. Feldman, Jennifer Kabat, Hannah Kruse, Whitney Museum of American Art, NYC.
1991 *The Art of Advocacy curated by Ellen O’Donnell Rankin, Aldrich Museum.
WAC, Art at the Anchorage curated by Creative Time Anne Pasternak
*Dirt & Domesticity, and the Construction of the Feminine curated by Independent Study program Jesus Fuenmayor, Kate Haug, Frazer Ward Cara Mertes, Whitney Museum of American Art
NOTE: An asterisk denotes that a catalogue accompanies the exhibition
PRESS:
Tom Patterson, Building on the Body, Winston-Salem Journal August 16, 1998. p. E3 repro
Robert Hicks, A “survivor” Creates Activist Images: Hope Sandrow Memories Spaces Time, Downtown Express Photography repro 1997
Erica-Lynn Huberty, Guild Hall Offers an Art and Memory Sampler, Southampton Press, Dec. 9, 1999, p. B7
Vince Aletti, Voice Choices Short List Hope Sandrow Village Voice August 18,1998 p 69
Whitney Scott, Must Picks of the Weekend Hope Sandrow, New York Post, Aug 15, 1998. p 27 repro
Sunday New York Times Arts & Leisure Guide, b&w repo. July 26, 1998 repro
Vince Aletti, Voice Choices, Hope Sandrow, The Village Voice, October 16, 1997
Sarah Blustain, Battered Images Reflect Rough Realities The Forward October 1997
John Mendelsohn, The Scream, Jewish Week The Arts repro 1997
Robert Hicks, A “survivor” creates activist images Hope Sandrow Memories Spaces Time, Downtown Express Photography repro 1997
Kim Levin, Voice Choices, Affirmative Actions: Artists at Work, Village Voice July 18, 1995
Kim Underwood, Artist and the Community Hope Sandrow, Winston-Salem Journal repro B10 1994
Margaret Shearin, The Art of Boxing Hope Sandrow, Triad p 15 repro f 1994
Kim Levin, Voice Choices, Village Voice, Dec 20, 1994.
Anne Quirin, New York fur Fauen, Elster-Verlag, 1994. pp 248-255, repro’s
Exhibition Highlights in 1993, Art in America Annual, Summer 1994
P.C. Smith, Op/Ed: Today’s Art Merges Object and Criticism The New York Times October 30, 1994