195:, one Alice leans over the other, plugging her nose, seemingly about to perform mouth-to-mouth resuscitation. These two photographs also demonstrate how Gaskell takes on the role of "unreliable narrator" within her series by her "use of photography as a format which invites the suspension of disbelief, with her codings and fragmentations of the frames exposing the viewer to the inconsistencies and assumptions that are held in place by realist photographic as well as narrative conventions.” Through the use of different sized photographs, Gaskell displays an instability in Alice by referring to the character's growth spurts and shrinking spells.
143:, Gaskell describes her creative process and the inspiration she draws from other sources in the following way: "The stories and events that I choose to use as jumping-off points are simply that. They are only a part of what goes into the work, and perhaps a useful reference for viewers. Trying to combine fiction, fact, and my own personal mishmash of life into something new is how I make my work. Into all of this, I try to insert a degree of mystery that ensures that the dots may not connect in the same way every time."
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272:." This series features young girls alone in a gothic mansion, creating a sense of dread and underlying sexual intrigue that takes its impetus from the tale of a young woman forced to hide beneath animal skins to hide from the matrimonial desires of her father. The name of the series is drawn from the children's game
888:. In Glueck's view, Gaskell's method is "to create a narrative expectation without fulfilling it", each picture hinting at a situation or story, provoking the viewer to speculate. Glueck does not necessarily approve of this, calling the process of challenging the viewer to make a story "do the artist's work".
326:, a type of child abuse in which a caregiver purposefully makes a child under their care ill, usually to attract the attention or sympathy of others upon themselves. Though all of her series are imbued with a sense of darkness, compared to the fictional stories depicted in her previous series such as
225:
curators states, " try to control the changes to her body by literally, physically holding her in place — a potent metaphor for the anxiety and confusion experienced by children on the verge of adolescence." Color and chiaroscuro play a large role in
Gaskell's work as they lead the viewer to the main
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photography," wherein each scene exists only to be photographed. Gaskell pioneers a new discourse of contemporary photography where within each of her series, the narrative of her photographs is disrupted, "its fragments functioning like film stills excised from their context but suggesting a missing
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Christian practices. She claims that she does not remember anything strange about these acts, "but more a feeling of excitement and a security in the faith that felt from everyone there." Gaskell says that her work revolves around a similar idea of faith, believing the possibility of the impossible
234:
were captured in the "golden hues of
Twilight." The constantly changing scale of the photographs, the physical stretching and pulling actions performed by the models, and the range of size of the photographs themselves (6 x 7 1/4 inches to 60 x 90 inches) all relate to the central metaphor of Alice
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a tale from 1938 about an ingénue who goes abroad, marries a middle-aged patrician, and follows him back to his ancestral estate in
Cornwall. There the young woman finds the house filled with the memory of the man's dead first wife, Rebecca, which torments the heroine to the brink of suicide.
183:, which draws the viewer in with stained-glass coloration intensified by lamination, features two identically dressed Alices photographed together and separately and at oblique angles that recall the disorienting experiences of Alice in Wonderland. For example, in
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in blue pinafores, white tights and "black Mary Jane shoes". Mahoney calls this an intense search for identity, observing that the use of twins brings out the "mirror-like clarity" of Alice's dream journey. In his view, the blue and white coloration recalls the
422:
Gaskell plays the protagonist, an actress who is performing a monologue and is continuously interrupted by an acting coach off screen. In this piece, Gaskell adopts "a mundane living room as the setting for her portrayal of emotional power struggles."
100:
Gaskell's mother was an evangelical
Christian who brought Anna and her brother along on "wild pilgrimages throughout the Midwest," where they would witness miracles being performed, acts of healing, people speaking in tongues, and other
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by the almost total exclusion of the main figure. When shown, the woman often has her back to the camera or remains hidden behind her hair. Gaskell uses dynamic camera angles and elaborately decorated interiors in her photographs in
391:
draws from the idea of
Rebecca's presence in the estate and the heroine's mind. This series explores the human psyche, including the experiences of fear, isolation, and uncertainty. As seen in her previous works, the protagonist of
396:
is a young woman who finds herself between "the purity of youth and the gradual loss of innocence that comes with maturity." Differing itself from previous series, the question of identity is pushed to a new level in
903:
Christopher Mooney, writing for ArtReview in 2014, reviews an exhibition in Paris of
Gaskell's photographs alongside her ex-partner Douglas Gordon's "wall, floor, and corner works". Mooney calls it a
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prima ballerina, Svetlana
Lunkina, who "danc across Gaskell's screens". Mooney finds Lunkina the strongest element in the show, Gaskell's photographs displaying her as both graceful and "affecting".
322:
wear white nurse's outfits. The girls in the photographs represent Genene Jones at different stages in her life, battling with her own tormented mind. The title of the series draws from
382:
began as an idea for a film installation and evolved into an exhibition combining still and moving images with ten photographs and a film installation. The unnamed central character of
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246:-like young woman in a pool of water, trying to decide whether she should drown or save herself. The theme of this cycle of indecision is seen again in her series
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Robert
Mahoney, reviewing Gaskell's first exhibition of color photographs in 1997, calls the show a "masquerade" with a pair of "pretty twins" playing at
92:. Like Sherman, Gaskell's works are influenced by film and painting, rather than the typical conventions of photography. She lives and works in New York.
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one of the Alices is pictured treading in a pool of her tears, "her body grotesquely distorted by the refraction of light on the water" and in
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whole." There are gaps of space and time left between each photograph, evoking a "vivid and dreamlike world." In a 2002 interview with curator
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In haunting photographic scenes of preadolescent girls, Gaskell alludes to well-known children's literature, such as Lewis
Carroll's
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221:
features seven versions of Alice which alternate between roles of victim and aggressor. A description about the series written by
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111:
318:, a pediatric nurse who, in the early 1980s, was found guilty of the murder of several children in Texas. Gaskell's models in
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takes on a darker tone by combining the fictional, gullible, and lovable Sally Salt character with a real-life serial killer,
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in 2004, described
Gaskell as an established "maker of spooky, tension-filled feminine fictions", her work recalling
280:, and the literal skin, or hide, that creates a boundary between the inside and the outside, the self and the other.
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Nancy Spector, "The Fiction of Fiction: An Exquisite Unease," in Anna Gaskell (NY: powerHouse Books: 2001)
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creating a sense of vertigo or claustrophobia. The accompanying 21-minute film, similar to her piece,
410:(1997), features a woman floating under water in a state of non-being, neither fully dead or alive.
900:, while the use of young women to represent "prepubescent girls" brings sexuality into the images.
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1984:
1194:
Bits & Pieces Put Together to Present a Semblance of a Whole: Walker Art Center Collections
1550:""Consciousness from the Ground Up" by Gaston, Diana – Afterimage, Vol. 28, Issue 6, May 2001"
1490:
Edwards, Kathleen A; University of Iowa; Museum of Art; Neuberger Museum of Art (2005-01-01).
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Gaskell, Anna; Rosenfield, Israel; Gioni, Massimiliano; Galerie Yvon Lambert (2004-01-01).
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is all the more unsettling in that it highlights real-life and disturbing subjects such as
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2008:
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Moving Pictures: Contemporary Photography and Video from the Guggenheim Museum Collections
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171:(1997). Gaskell made her international debut with the twenty photograph series,
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Gaskell, Anna; Drutt, Matthew; Menil Collection (Houston, Tex.) (2002-01-01).
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217:, but in this series, the scenarios are drawn from Gaskell's own imagination.
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2178:"Until the Woods Began to Move | Greater Des Moines Public Art Foundation"
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KunstFilmBiennale, Cologne, best film in the art category: Erasers (2005)
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She is best known for her photographic series that she calls "elliptical
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1738:"GASKELL | AIRO' | BERTI – Galleria Massimo De Carlo – Dettaglio mostra"
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175:(1996–97), the first series Gaskell created after receiving her MFA at
1817:"Vizcaya Museum & Gardens – Anna Gaskell March 15 – June 1, 2007"
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908:
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491:; Astrup Fearnley Museet, Oslo; Hasselblad Center, Gothenburg, Sweden
303:
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1589:"ART/ARCHITECTURE; Photographs on a Wall, Doors to a Haunted Manor"
243:
296:, both of which featured Sally Salt, the female protagonist in
1767:"Culture- ART FEATURE- Mind games: Gaskell's missing memories"
1656:"Phillips Academy – The Addison's Artist-in-Residence Program"
230:
series features cool blue tones, the photographs featured in
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and suspension of disbelief. After studying for two years at
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1493:
Acting out: invented melodrama in contemporary photography
933:
Des Moines Art Center Artists Residency, Des Moines (2005)
2204:. 2007-07-06. Archived from the original on July 6, 2007
1407:"Anna Gaskell | Museum of Contemporary Art North Miami"
35:"Untitled #2" in Gaskell's photography series, "wonder"
1953:"A Citywide Treasure Hunt for Photographs With Vision"
130:
Gaskell stages all of her scenes, using the style of "
2009:"Exquisite Corpses: Drawing and Disfiguration | MoMA"
1229:
Feminism Reframed: Reflections on Art and Difference
2377:
Deutsche Börse Photography Foundation Prize winners
1496:. Iowa City, IA: University of Iowa Museum of Art.
1431:Gaskell, Anna; Des Moines Art Center (2001-01-01).
2130:"Current Exhibitions – The Photographers' Gallery"
638:, Second Street Gallery, Charlottesville, Virginia
1354:"GALERIE GISELA CAPITAIN: Anna Gaskell Biography"
2318:
2262:"2010 ArtsLink Projects Awardees | CEC ArtsLink"
2159:http://www.nancygravesfoundation.org/grants.html
1135:. The Solomon R. Guggenheim Foundation. 2003.
803:Exquisite Corpses. Drawings and Configuration,
372:'s (no relation) "The Old Nurse's Story," and
308:baron Karl Friedrich Hieronymus von Munchausen
242:repeats in a backwards sequence a scene of an
2347:School of the Art Institute of Chicago alumni
2033:"Ecstatic Alphabets/Heaps of Language | MoMA"
1079:. Oxford University Press. Web. 17 Mar. 2014.
88:" which are similar to the works produced by
1791:"Paint Your Own Pictures – NY Arts Magazine"
786:Elizabeth A. Sackler Center for Feminist Art
114:in 1992. In 1995, she received her MFA from
1437:. Des Moines, Iowa: Des Moines Art Center.
732:
95:
1166:
728:(with Douglas Gordon), Yvon Lambert, Paris
566:, Phillips Academy, Andover, Massachusetts
302:, a 1988 British comedy film based on the
226:source of action in each piece. While the
163:which can be found in two of her series: w
29:
2367:21st-century American women photographers
2357:20th-century American women photographers
2108:"Anna Gaskell and Douglas Gordon: Vampyr"
1708:. Paris; New York: Galerie Yvon Lambert.
1046:. Houston, Texas: Menil Foundation, Inc.
2182:Greater Des Moines Public Art Foundation
1685:"How Some Children Play at Slaughtering"
925:Citigroup Private Bank Photography Prize
761:Photography Past/Forward. Aperture at 50
2076:
1310:"ANNA GASKELL, BY PROXY | Casey Kaplan"
1191:
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485:Museum of Contemporary Art, North Miami
77:(born October 22, 1969) is an American
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1928:"ANNA GASKELL – DOUGLAS GORDON Vampyr"
1226:
1082:
1014:. The Solomon R. Guggenheim Foundation
812:Ecstatic Alphabets / Heaps of Language
587:How Some Children Play at Slaughtering
288:In 1999, Gaskell produced two series,
112:School of the Art Institute of Chicago
2106:Mooney, Christopher (December 2014).
1950:
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1196:. Minneapolis, MN: Walker Art Center.
1041:
930:Nancy Graves Foundation Grant (2002).
763:, Aperture's Burden Gallery, New York
1815:Services, Miami-Dade County Online.
1814:
1564:"Exhibitions – The Menil Collection"
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814:, The Museum of Modern Art, New York
264:, Gaskell references a lesser-known
16:American art photographer and artist
2372:21st-century American photographers
2362:20th-century American photographers
2082:
1985:"Brooklyn Museum: Global Feminisms"
1626:. Houston, Tex.: Menil Collection.
1586:
1467:"Anna Gaskell | Castello di Rivoli"
1092:Why It Does Not Have to Be in Focus
948:Recollects Residency, Paris (2011)
911:in "many" of Gordon's works, and a
431:
13:
2237:"NYFA Artists Now: Happy October!"
1526:"KUNSTFORUM international | Login"
1331:
1274:
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715:, Galerie Gisela Capitain, Cologne
683:, Galerie Gisela Capitain, Cologne
625:, Galerie Gisela Capitain, Cologne
619:, Galleria Massimo De Carlo, Milan
299:The Adventures of Baron Munchausen
81:and artist from Des Moines, Iowa.
14:
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1705:Anna Gaskell: at sixes and sevens
1383:"Anna Gaskell: Hide | White Cube"
1231:. Cambridge Scholars Publishing.
1200:
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907:, the exhibition featuring swan
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582:Galerie Gisela Capitain, Cologne
523:Castello di Rivoli, Turin, Italy
468:Galerie Gisela Capitain, Cologne
462:, Casey Kaplan Gallery, New York
210:Alice's Adventures in Wonderland
159:Alice's Adventures in Wonderland
110:, she received her BFA from the
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2056:Glueck, Grace (30 April 2004).
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564:Addison Gallery of American Art
535:Kölnischer Kunstverein, Cologne
306:told about 18th-century German
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1171:. Museum of Contemporary Art.
748:Institute of Contemporary Arts
600:Casey Kaplan Gallery, New York
569:Le studio, Yvon Lambert, Paris
529:Casey Kaplan Gallery, New York
426:
1:
2342:Artists from Des Moines, Iowa
2202:"KunstFilmBiennale Köln 2005"
2058:"Art in Review; Anna Gaskell"
1227:Kokoli, Alexandra M. (2009).
1095:. Prestel. pp. 136–137.
1073:Benezit Dictionary of Artists
952:
945:Bohen Foundation Grant (2010)
560:, Houston; White Cube, London
177:Yale University School of Art
1012:Guggenheim Collection Online
818:
770:Solomon R. Guggenheim Museum
489:Museum of Modern Art, Oxford
340:Munchausen syndrome by proxy
324:Munchausen syndrome by proxy
258:In her photographic series,
223:Solomon R. Guggenheim Museum
7:
1951:Boxer, Sarah (2002-10-24).
1167:Clearwater, Bonnie (1998).
359:drawn from stories such as
10:
2393:
2134:The Photographers' Gallery
1899:"2013 « YVON LAMBERT"
1870:"2010 « YVON LAMBERT"
1260:. Aspen Art Museum. 2000.
668:Wexner Center for the Arts
276:, the dual personality of
2352:Yale School of Art alumni
2221:: CS1 maint: unfit URL (
2157:Nancy Graves Foundation.
2085:"Anna Gaskell's 'Wonder'"
1587:Hay, David (2002-09-29).
1285:"Anna Gaskell: Half Life"
1192:Hofmann, Irene E (2005).
918:
858:Grace Glueck, writing in
658:Vizcaya Museum and Garden
125:
62:
40:
28:
21:
2037:The Museum of Modern Art
2013:The Museum of Modern Art
1471:www.castellodirivoli.org
1089:Higgins, Jackie (2013).
806:The Museum of Modern Art
733:Select group exhibitions
696:, Yvon Lambert, New York
651:, Yvon Lambert, New York
590:, Project Room, Chicago
345:
146:
96:Early life and education
2337:Photographers from Iowa
2241:NYFA.org – NYFA Current
1623:Anna Gaskell: half life
1361:GALERIE GISELA CAPITAIN
1044:Anna Gaskell: half life
1042:Drutt, Matthew (2002).
649:Paint Your Own Pictures
342:and the Jones murders.
278:Dr. Jekyll and Mr. Hyde
235:in Wonderland: change.
2312:Guggenheim Collections
2286:"The Bohen Foundation"
1989:www.brooklynmuseum.org
1314:caseykaplangallery.com
1258:Anna Gaskell: by proxy
213:are made again, as in
942:Artslink Grant (2010)
709:, Yvon Lambert, Paris
636:Everything That Rises
606:, Yvon Lambert, Paris
518:Des Moines Art Center
378:The Turn of the Screw
2064:. The New York Times
1903:www.yvon-lambert.com
1874:www.yvon-lambert.com
1568:The Menil Collection
558:The Menil Collection
447:Casey Kaplan Gallery
57:Des Moines, Iowa, US
2266:www.cecartslink.org
1771:www.readthehook.com
975:. November 23, 2013
893:Alice in Wonderland
871:Alice in Wonderland
790:The Brooklyn Museum
713:The Romantic Exiles
604:At Sixes and Sevens
361:Daphne du Maurier's
2164:2013-11-26 at the
2062:The New York Times
1957:The New York Times
1742:www.teknemedia.net
1593:The New York Times
861:The New York Times
838:. You can help by
533:Remarkable Places,
116:Yale School of Art
108:Bennington College
2083:Mahoney, Robert.
1530:www.kunstforum.de
1413:. 18 October 1998
1102:978-3-7913-4851-3
1077:Oxford Art Online
1071:"Gaskell, Anna."
939:NYFA Grant (2010)
884:and the films of
876:Daphne du Maurier
856:
855:
783:Global Feminisms,
466:Sally Salt says…,
370:Elizabeth Gaskell
118:, studying under
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886:Alfred Hitchcock
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767:Moving Pictures,
670:, Columbus, Ohio
542:New Langton Arts
505:Aspen Art Museum
432:Solo exhibitions
270:The Magic Donkey
141:Menil Collection
120:Gregory Crewdson
79:art photographer
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51:October 22, 1969
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836:needs expansion
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544:, San Francisco
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420:Acting Lessons,
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290:Sally Salt says
238:Gaskell's film
207:, allusions to
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418:In her video,
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266:Brothers Grimm
203:In the series
167:(1996–97) and
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63:Known for
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2293:. Retrieved
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2142:. Retrieved
2138:the original
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2016:. Retrieved
2012:
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1992:. Retrieved
1988:
1979:
1968:. Retrieved
1956:
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1935:the original
1922:
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1907:the original
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1878:the original
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1849:the original
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1746:the original
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1689:kunstaspekte
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1664:the original
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1474:. Retrieved
1470:
1461:
1434:Anna Gaskell
1433:
1426:
1415:. Retrieved
1411:mocanomi.org
1410:
1401:
1390:. Retrieved
1386:
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1365:the original
1360:
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1318:the original
1313:
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1169:Anna Gaskell
1168:
1132:
1111:. Retrieved
1107:the original
1091:
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1011:
979:November 23,
977:. Retrieved
972:
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840:adding to it
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681:Replayground
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481:Anna Gaskell
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75:Anna Gaskell
74:
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23:Anna Gaskell
2327:1969 births
2110:. ArtReview
1845:wexarts.org
1821:vizcaya.org
898:Virgin Mary
655:Still Life,
427:Exhibitions
193:Untitled #2
185:Untitled #1
103:Charismatic
67:Photography
2321:Categories
2295:2016-04-12
2271:2016-04-12
2247:2016-04-12
2208:2016-04-12
2187:2016-04-12
2144:2016-04-12
2042:2016-04-13
2018:2016-04-13
1994:2016-04-13
1970:2016-04-13
1913:2016-04-12
1884:2016-04-12
1855:2016-04-13
1826:2016-04-12
1801:2016-04-13
1776:2016-04-13
1752:2016-04-13
1715:2913893104
1670:2016-04-13
1633:0939594544
1606:2016-04-12
1573:2016-04-12
1535:2016-04-13
1503:0874141494
1476:2016-04-13
1444:1879003368
1417:2016-04-13
1392:2016-04-12
1324:2016-04-13
1289:White Cube
1113:2013-11-24
1018:9 February
973:Artnet.com
953:References
808:, New York
792:, New York
772:, New York
555:Half Life,
507:, Colorado
475:White Cube
449:, New York
357:half life—
355:Gaskell's
304:tall tales
86:narratives
47:1969-10-22
1965:0362-4331
1841:"Erasers"
1601:0362-4331
909:taxidermy
905:swan song
878:'s novel
819:Reception
744:Sightings
666:The Box,
502:by proxy,
404:half life
399:half life
394:half life
389:half life
250:in 2002.
248:half life
132:narrative
2217:cite web
2162:Archived
2087:. ArtNet
1724:84612290
1642:53228408
1512:57391868
1453:50280913
1294:March 3,
847:May 2016
664:Erasers,
580:Anagram,
477:, London
460:by proxy
384:Rebecca,
336:by proxy
328:override
320:by proxy
312:by proxy
294:by proxy
232:override
219:override
205:override
169:override
927:(2000).
881:Rebecca
707:Penguin
660:, Miami
623:Erasers
408:Floater
365:Rebecca
268:tale, "
244:Ophelia
240:Floater
189:wonder,
139:of the
2114:17 May
2091:17 May
2068:17 May
1963:
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919:Awards
726:Vampyr
520:, Iowa
443:wonder
332:wonder
228:wonder
215:wonder
181:wonder
173:wonder
126:Career
1938:(PDF)
1931:(PDF)
1368:(PDF)
1357:(PDF)
720:2014
701:2013
688:2010
675:2009
643:2007
630:2006
611:2005
595:2004
574:2003
549:2002
512:2001
496:2000
472:Hide,
454:1999
437:1997
346:2000s
165:onder
147:1990s
2223:link
2116:2016
2093:2016
2070:2016
1961:ISSN
1720:OCLC
1710:ISBN
1638:OCLC
1628:ISBN
1597:ISSN
1508:OCLC
1498:ISBN
1449:OCLC
1439:ISBN
1296:2016
1262:ISBN
1233:ISBN
1211:ISBN
1173:ISBN
1137:ISBN
1097:ISBN
1048:ISBN
1020:2016
981:2013
797:2012
777:2007
755:2002
738:1998
617:1991
414:2007
351:2002
330:and
292:and
284:1999
261:hide
254:1998
199:1997
152:1996
41:Born
868:'s
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187:of
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