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for images of people plunging through the air, having jumped out of a windows to commit suicide or because of a catastrophe like fire. After appropriating the photograph, she would crop or tear it, often leaving the edges ragged so that it appeared to be haphazardly torn like a homemade clipping. She
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Charlesworth worked in photographic series, but stated in a 1990 interview that she had not really thought of herself as a photographer. She stated, rather, that she viewed her work as investigating questions about the world and her role in it, but realized as of that point that she had been
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is
Charlesworth's attempt to convey her emotions through using abstracted images of objects that have symbolic associations. She illustrated how the way light falls on objects affects our perceptions of them as the subject of her own 2012 solo exhibition
290:– creating a set of six new ones from the original transparencies that were never printed. Each gelatin silver print was made and mounted to the exact specifications of those she created in 1980.
338:. Before her death she taught Master Critique in the MFA Photography, Video and Related Media Program and The School of Visual Arts. A major influence on a new generation of artists, including
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would then rephotograph the image and enlarge it. Charlesworth later expanded the series, printing an eighth work from her original source material in 2009 and – as a commission of the
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254:(1977–79), she photographed, at actual size, the front pages of 29 American and Canadian newspapers and blanked out everything except for their photographs and mastheads. For
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Charlesworth's work was the subject of more than 40 solo exhibitions at venues including the Centre d'art contemporain, Geneva (1977), the
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prints of appropriated images – typically a cutout picture of a single object, including a gold bowl and a statue of a
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in 1969. Her undergraduate thesis project, a work of conceptual art devoid of text, was a 50-print study of the
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258:(1979), a part of the series, Charlesworth selected a specific event – the shooting of American journalist
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a magazine dedicated to art theory, but the magazine only remained in publication until 1976. Along with
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Charlesworth's work is included in the collections of many museums around the world, including the
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Anglo-American Name
Authority File, s.v. "Charlesworth, Sarah", LC Control Number nr 98019654
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at
Bradford College. After completing her degree, she studied briefly under the photographer
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investigating those questions through the medium of photography for the past twelve years.
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in Santa Fe, New Mexico, toured to four additional museums. Her work was included in the
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Charlesworth worked in series, exploring one idea to its conclusion. For a series called
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magazine in 1981. Charlesworth also created the cover art for the very first edition of
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Charlesworth began to photograph actual objects only in the early 1990s. Her series
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Elizabeth A. Sackler Center for
Feminist Art: Feminist Art Base: Sarah Charlesworth
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Review: ‘Sarah
Charlesworth: Doubleworld’ Studies Perceptions Shaped by Photography
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478:(1979). Her work is also included in many university collections including the
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Award-winning photographer and educator Sarah
Charlesworth dies; June 28, 2013
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acquired the complete series (14 photographs) of her over-lifesize series
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Sarah
Charlesworth, Artist of Deconstructed Photographs, Dies at 66
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Charlesworth had two children with her former husband, filmmaker
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Hurtling Bodies, Frozen in Time: ‘Stills,’ by Sarah
Charlesworth
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Sarah
Charlesworth: Stills, September 18, 2014 - January 4, 2015
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John Simon
Guggenheim Fellowship Award, Visual Art (1995)
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Union List of Artists Names, s.v. "Charlesworth, Sarah"
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Sarah Charlesworth Leaves Magic Images, Beloved Garden
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Heresies: A Feminist Publication on Art and Politics
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In 1975, Charlesworth and fellow conceptual artists
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150:(March 29, 1947 – June 25, 2013) was an American
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130: 1983–2010)
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366:on June 25, 2013, at the age of 66.
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382:(2014). A 1998 survey organized by
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815:Unwriting: Sarah Charlesworth
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462:, among others. In 2012, the
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683:"Sarah Charlesworth"
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348:Princeton University
310:Renaissance Drawings
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1485:Carolee Schneemann
1245:Three Weeks in May
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663:The New York Times
580:Sarah Charlesworth
262:by the Nicaraguan
218:, Preston Heller,
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1415:Suzi Ferrer
1364:Where We At
1317:(1972–1977)
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494:Recognition
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414:Collections
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510:References
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