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Exteriors, Interiors, and Positionality: The Photography of Tina Barney

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dc.contributor.advisor Monteyne, Joseph en_US
dc.contributor.advisor Uroskie, Andrew en_US
dc.contributor.author Van Scoy, Susan A. en_US
dc.contributor.other Department of Art History and Criticism en_US
dc.date.accessioned 2012-05-15T18:07:10Z
dc.date.accessioned 2015-04-24T14:53:14Z
dc.date.available 2012-05-15T18:07:10Z
dc.date.available 2015-04-24T14:53:14Z
dc.date.issued 2010-05-01
dc.identifier VanScoy_grad.sunysb_0771E_10055.pdf en_US
dc.identifier.uri http://hdl.handle.net/1951/55656 en_US
dc.identifier.uri http://hdl.handle.net/11401/72691 en_US
dc.description.abstract In the late 1970s, a critically celebrated new"art" photography surfaced, characterized by large-scale, directed photographs, or tableaux, and identified in work by Jeff Wall, Thomas Ruff, and Jean-Marc Bustamante. However, for the past 30 years, American photographer Tina Barney has also created large, color tableaux featuring her upper class family and friends using a snapshot aesthetic. While critics and journalists have evaluated Barney's work only in terms of her wealthy background and family portraiture, I believe that her photography is an exemplar of the modern-day hybrid tableau form. By identifying and analyzing the various art historical sources in Barney's photographs, this dissertation explores the relationship between painting and photography that is particular to the tableau form. Besides comparative analyses with sources such as seventeenth-century Dutch genre painting, feminist Impressionist painting, and European portrait painting as well as other tableau photographers such as Thomas Struth, Jeff Wall, and Rineke Dijkstra, I broaden our perspective of Barney's work by introducing original biographical research including her exposure to a world-famous art collection acquired by her relatives, her rephotography training by landscape photographers, and her experience as a female image-maker in a male-dominated genre. As a result, Barney's photographs forge a combination of representational, intentional artwork, based on the composition of well-known paintings in the art historical canon, with an inherent indexicality of location and culture that hinges on the audience's reaction, creating an intertextual matrix that plots the social relationships, or positionality, of the subject, Barney, and the viewer. en_US
dc.description.sponsorship This work is sponsored by the Stony Brook University Graduate School in compliance with the requirements for completion of degree. en_US
dc.format Monograph en_US
dc.format.medium Electronic Resource en_US
dc.language.iso en_US en_US
dc.publisher The Graduate School, Stony Brook University: Stony Brook, NY. en_US
dc.subject.lcsh Art History en_US
dc.subject.other interiors, Michael Fried, positionality, rephotography, tableau photography, Tina Barney en_US
dc.title Exteriors, Interiors, and Positionality: The Photography of Tina Barney en_US
dc.type Dissertation en_US
dc.mimetype Application/PDF en_US
dc.contributor.committeemember Donald Kuspit en_US
dc.contributor.committeemember Siona Wilson. en_US


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