Diane Rosenblum is a photographer and a conceptual artist whose work is series-driven.
In her series the Measure of Art, Rosenblum makes conceptual artworks in the visual language of modern and contemporary artists such as Joseph Kosuth, Richard Misrach, and Damien Hirst. Using auction sales results from the late 1980’s through 2009 obtained from artprice.com, she graphs art market data directly into my canvases. The data is legibly presented in line with Edward Tufte’s theories on the graphical display of information. This project is neither parody nor appropriation. Instead, the art and career of the artist in question is the subject matter of my artwork.
Clouds for Comment began as a reflection on Alfred Stieglitz’s series Equivalents, in which he claimed his photographs of clouds embodied a specific emotional state, and that a sensitive viewer will concretely understand his specific emotions when seeing the photographs. Rosenblum is suspicious of that premise and believes that the viewer largely creates what they see in photographs, and this is mostly a reflection of who they are and what they have seen before.
Her photographic series, In My Mother’s Garden, draws on the ancient principles of the camera obscura (understood by Aristotle, Vermeer and early Chinese Scholars) to achieve evocative delight. Combining this simple but powerful device, created by making a small hole in the exterior of a dark, enclosed box, with digital sensing technology Rosenblum experiments with a range of low-tech lenses and filters to make these images. The artist aims to capture the pleasure and sensation of being in a light suffused garden, wandering amidst its beautiful plants and flowers. The images envision paradise; they are a hazy dream memory or future vision of a world of divine light, a meditation on the process of creation.
In her latest body of work, Topography (Re)newed, the multifaceted artist Diane Rosenblum delves into the history of art and the arc that connects it to our contemporary reality (which is, of course, becoming increasingly mediated by digital technology). In this series, which focuses on 19th century Hudson River School landscapes, Rosenblum contrasts the romance, grandeur, and expansiveness of nature with the reality of lives spent increasingly in front of small screens. By pulling out and enlarging pixelated color samples taken from digital representations of paintings, she foregrounds the digital filter through which we receive most of our information.
In her Golden Drawings series of small improvisational collages, Rosenblum has created dozens of small works, made from cut strips of metallic paper combined with occasional touches of pencil and expressive paint. The compositions harken back to art deco architectural motifs and Bauhaus and Constructivist design. Reductive, simple, and modular, they are each one whole and complete unto themselves, but also work well in series to create larger compositions and narratives.
Diane Rosenblum studied Studio Art and Art History at Oberlin College, and has a Masters degree from the Brooks Institute of Photography. She has exhibited internationally in China, Argentina, and throughout the United States and California. Her work is in 20 museum collections, including the San Francisco Museum of Modern Art, the LA County Museum of Art in Los Angeles, and The Albertina Museum in Vienna, among many others. She is represented by SLATE contemporary in Oakland.