Tag: Liz Albert

  • Liz Albert and Shane VanOosterhout: Instant Classic – LENSCRATCH

    Liz Albert and Shane VanOosterhout: Instant Classic – LENSCRATCH

    Liz Albert and Shane VanOosterhout: Instant Classic – LENSCRATCH

    I was thrilled to see Liz Albert’s name on my line-up for the New England Portfolio Reviews as we had previously shared her project, Family Fictions and I am a fan of her work. She shared a new collaborative project with me, Instant Classic, created with

    via LENSCRATCH: http://lenscratch.com/2023/09/liz-albert/

    In my latest project, Instant Classic, my collaborator, Shane VanOosterhout, and I have been sleuthing and acquiring anonymous Polaroids circa 1960-2000. Discarded photo albums, shoeboxes packed with forgotten snapshots; images lost beneath decades of clutter. Years ago, our subjects showed up for a Christmas party, a romantic encounter, 10th-grade geometry. Responding to cues from what we perceive in these Polaroids, we add poignant and humorous phrases from our personal journals and recent conversations – inner thoughts we imagine the individuals and their observers may be thinking and feeling.

  • Liz Albert: Family Fictions | LENSCRATCH

    Liz Albert: Family Fictions | LENSCRATCH

    Liz Albert: Family Fictions

    I first became aware of Liz Albert’s project, Family Fictions, through Float Magazine’s The Road Exhibition. I loved the vintage diptych (see above) that perfectly described a family road trip that included a bored teenager with a cigarette. Needless to s

    via LENSCRATCH: http://lenscratch.com/2020/04/131116/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+lenscratch%2FZAbG+%28L++E++N++S++C++R++A++T++C++H%29

    I first became aware of Liz Albert’s project, Family Fictions, through Float Magazine’s The Road Exhibition. I loved the vintage diptych (see above) that perfectly described a family road trip that included a bored teenager with a cigarette. Needless to say, I was looking forward to seeing her work in Houston. The artistic use of vernacular found family slides comes from her skilled pairing of images. As she states,”There is a subversive pleasure in working with other people’s family memories and manipulating their meaning by changing the context in which they are viewed.” The work allows us to be voyeurs into anonymous lives and find amusement in the juxtapositions of the subjects.