User:Mabate98/sandbox


 * Born in Winnipeg in 1979
 * Education
 * MFA from Yale University (2009)
 * Resident of Mountain School of Arts
 * Grants
 * Tierney Fellowship
 * Canada Arts Council Project Grant
 * Exhibitions
 * Permanent collection at Philadelphia Museum of Art
 * Art Gallery of Ontario (Toronto)
 * Deutsche Guggenheim (Berlin)
 * Featured work in
 * TIME Magazine's Lightbox
 * Matte Magazine
 * Night Papers
 * TBW Books (monograph)
 * Golden Spike Press
 * Nominated for
 * Grange Prize (2011)
 * the Sobey Art Award (2012)
 * Location
 * Lives in Los Angeles,
 * Job
 * Professor @ Fullerton University
 * visiting critic at Yale.

https://www.widewalls.ch/artist/elaine-stocki/ - Lots of information

https://www.widewalls.ch/exhibition/elaine-stocki/ - info on past exhibitions,

24 of them!

https://canada-culture.org/en/event/elaine-stocki/

https://search.proquest.com/docview/887256772?accountid=14518&rfr_id=info%3Axri%2Fsid%3Aprimo - True Fiction Philadelphia Photo Arts Center Philadelphia September 9-November 27, 2010 Featuring approximately 150 photographs by more than seventy photographers, the seminal exhibition "Pleasures and Terrors of Domestic Comfort" opened at the Museum of Modern Art (MoMA) in the fall of 1991

- What it says about Stocki

"Elaine Stocki's and Bradley Peters's photographs depict moments of tension. Whether a cinematic moment, composed for the camera, or a "Bresson-esque decisive moment," both artists' work suggest hidden narratives. In Peters's large color photograph Untitled (Man on Ledge with Baby) (2009), a man dangles a baby over a stone ledge. Capturing an intermediary moment, Peters leaves the viewer unsure as to the motivation behind the event. Has the man precipitated the baby's fall, or is he averting a potential accident? Like Drucker's "dubious documents," Peters's images highlight their staging and artifice even as they ostensibly capture the chance event.

Though strangely surreal, Stocki's color photographs capture performative moments. In contrast to the oblivious figures in Peter's work, Stocki's subjects are fully aware of the camera, acting in their own drama. In Láveme (2008), two figures sit under a tree covered in a gold, quilted satin comforter. The majority of the composition comprises the blanket; only their heads are visible at the top of the frame. A touch of camp and spectacle references pantomime, a farcical play for the camera."