Two-way (after Louise Bourgeois)

Photography; Inkjet print, 2008

The work in this series, entitled Domestic Disclosures, engages with the idea of familiarity, repetition and transformation, in relation to that which makes up our everyday. For this project, I have turned inwards to take a close look at my domestic environment and the everyday items I use during the daily routines of cooking, cleaning and working at home.

To begin, I decided to set up a ‘stage’—a neutral background—where I could photograph these objects outside of their environment and everyday function. Each day, I would choose a new item, set it on the stage and perform a series of improvised alterations to it. In making these ephemeral sculptures I soon realized, and became interested in the fact, that in some instances the gestures I performed and the forms that these objects assumed, subconsciously referenced artworks of which I am very fond.

In retrospect, this seems fortuitous and indeed bound to happen, as I am continually engaging with art of all kinds (in galleries, museums, books, magazines and on the web). Inevitably these artworks are processed and digested in various ways. And it is those artists, whose work, strategies and interventions I admire the most that have been more fully digested and have become such familiar territory. They have influenced how I work and how I see the world and they have become a part of my own visual vocabulary and repertoire.

Do these homemade, domestic sculptures—and in some cases homages—allow us to view these displaced materials (and their art historical references) any differently? Are we, as contemporary artists, indebted and possibly even bound or limited by the work of our predecessors and the history of art?

Two-way (after Louise Bourgeois)

Photography; Inkjet print, 2008

     
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Susana Reisman

b. 1977, Venezuela

Short Bio

Susana Reisman is a graduate from the School of Imaging Arts & Sciences from the Rochester Institute of Technology (Rochester, NY). As a photo-based artist, she is deeply interested in questioning forms of visual representation. Her work seeks to address the ways in which we experience and interpret what we see; how we encounter, read, construct, classify, and evaluate our visual world.

Born and raised in Venezuela, Susana Reisman continues to live a nomadic life—currently dividing her time between Toronto and Caracas. Her work has been exhibited throughout the United States and Canada.

Website

www.susanareisman.com

Education

  • MFA, Rochester Institute of Technology, Rochester, NY, USA 2005
  • BA, Wellesley College, MA, USA 1995

Galleries

Collections

  • Museum of Contemporary Photography at Columbia College, Chicago, IL
  • Wallace Library, Rochester Institute of Technology, NY
  • The Media Cafe Collection, Rochester Institute of Technology, NY

Solo Exhibitions

  • Selective Affinities, Peak Gallery, Toronto, ON 2010
  • Disk Inventory, Tall Wall Space, The University of La Verne, La Verne, CA 2007
  • A Sense of Departure, Center for Photography at Woodstock, Woodstock, NY 2007
  • Mapping and Mediation, Hiestand Galleries, Robert E. & Martha Hull Lee Gallery, Miami University, Oxford, OH 2006
  • recovery room, Art and Music Gallery, University of Rochester, Rochester, NY 2005
  • Objectively Ambivalent, MFA Thesis Exhibition, SPAS Gallery, Rochester, NY 2005

Selected Group Exhibitions

  • PhotoDimensional, Museum of Contemporary Photography, Columbia College, Chicago, IL 2009
  • Feria Iberoamericana de Arte: XI Salon CANTV, Galeria CorpBanca, La Castellana, Caracas, Venezuela 2008
  • Food for Thought, The Light Factory, Contemporary Museum of Photography and Film, Knight Gallery, Charlotte, NC 2008
  • CONTACT: Portfolio Reviews Exhibition, HP Gallery, Red Bull 381 Projects, Toronto, Canada 2008
  • PRC/POV: Photography Now and the Next 30 Years, PRC Gallery, Boston, MA 2006
  • Trash, Drake Hotel, Toronto, Ontario, Canada 2006

Publications

  • “On the Scale of History” (Featured Portfolio), Afterimage: The Journal of Media Arts and Cultural Criticism, Rochester, NY: Visual Studies Workshop, number 4, vol. 35, 2008.
  • “Photographic Medium” (Artist Profile), Vision Magazine, Beijing, China: Youth Vision Magazine, November 2007, 224-227.
  • “Susana Reisman: Measuring Tape,” Flash Forward 2007: Emerging Photographers from Canada, the United Kingdom and the United States. Toronto: Magenta Publishing for the Arts, Ontario, Canada, 2007: 66-67.
  • “Plastikos,” Alphabet City: Trash, Ed. John Knechtel. Cambridge, MA: Alphabet City / MIT Press, 2007, 272-279.

Susana Reisman

Full Resume

Download (PDF)

News

Susana has recently finished a children's book entitled Time Flies which was published by Dar Onboz (Beirut, Lebanon) in May 2009.

The Real Thing (after Robert Morris) The Real Thing (after Carl Andre) The Real Thing (after Donald Judd) Splitting (after Gordon Matta-Clark) Endless Column (after Constantin Brancusi) Two-way (after Louise Bourgeois) Carbon Copy (after Hiroshi Sugimoto) Untitled 1, from the Plastikos series Untitled 4, from the Plastikos series Untitled 7, from the Plastikos series Untitled 9, from the Plastikos series Untitled 19, from the Plastikos series

Susana Reisman
Two-way (after Louise Bourgeois), 2008
More images by Susana Reisman List View

The Real Thing (after Robert Morris)

The Real Thing (after Carl Andre)

The Real Thing (after Donald Judd)

Splitting (after Gordon Matta-Clark)

Endless Column (after Constantin Brancusi)

Two-way (after Louise Bourgeois)

Carbon Copy (after Hiroshi Sugimoto)

Untitled 1, from the Plastikos series

Untitled 4, from the Plastikos series

Untitled 7, from the Plastikos series

Untitled 9, from the Plastikos series

Untitled 19, from the Plastikos series

Images to of