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A non-profit dedicated to cultural diversity in photography. |
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| EN FOCO | Photographers | |
 © Keliy Anderson-Staley, Jovanna, 2009. Americans: Contemporary Collodion Portraits series. Wet plate collodion tintype, 10x8"  © Keliy Anderson-Staley, Masa, 2009. Americans: Contemporary Collodion Portraits series. Wet plate collodion tintype, 10x8"  © Keliy Anderson-Staley, LaTasha, 2009. Americans: Contemporary Collodion Portraits series. Wet plate collodion tintype, 10x8" |
Keliy Anderson-Staley Born: 1977, Massachusetts, USA Resides: Astoria, NY Selected Exhibitions: Texas Woman's University Art Gallery, Denton, TX 2010 California Museum of Photography, Riverside, CA 2009 Jenkins Johnson Gallery, San Francisco, CA and New York, NY 2009 (read our Blog story) Clarabella Gallery, New York, NY 2009 University of New England Art Gallery, Portland, ME 2009 Rockland Center for the Arts, Nyack, NY 2009 Susan Maasch Fine Art, Portland, ME 2009 Aferro Galley, Newark, NJ 2008 The Bronx Museum of the Arts, Bronx, NY 2008 Safe-T-Gallery, Brooklyn, NY 2008, 2007 Education: MFA, Hunter College, New York, NY 2006 BA, Hampshire College, Amherst, MA 2001 Awards: People/Places/Things: an International Photo Competition Celebrating En Foco's 35th Anniversary, 2009 (Honorable Mention) New York Foundation for the Arts Photography Fellowship, 2008 Bronx Museum of the Arts' Artist in the Marketplace, 2007-08 Residencies: Light Work Residency, Syracuse, New York, 2010 Publications: "Tintypes of NYC's Best Doctors" (New York Magazine, June 15 2009) Artist Statement: This series of portraits raises questions about photographic representation and the ways photography has shaped our conceptions of identity since its earliest days. My interest lies in finding the unique visual markers of personality and in portraying faces that reflect the diversity of contemporary America. Each image in this project presents a face and is titled simply with a first name. Although the heritage of the individual may be inferred from assumptions we make about features and costumes, the descriptive language that might have been attached to such images in the past is deliberately absent. The viewer is therefore forced to suspend the kind of thinking that would traditionally assist in decoding these images in the context of American identity politics. I use the nineteenth-century wet plate collodion photographic process, the same photo process that was used when many believed that photography could scientifically record and catalogue the racial or ethnic identity of a person. Like the photographers of the 1850s, I use hand-poured chemistry that I mix myself, brass lenses, and wooden view cameras to expose positive images directly onto blackened metal and glass. Requiring extended exposure times, the process offers the possibility of looking beyond temporary aspects of personality. One must sit still for almost a minute as the features of the face itself and not just passing emotions are recorded and as the extended moment is preserved in the eyes. My portraits present a dialectic between similarity and difference and explore the way individuals resist easy categorization. Website: http://www.andersonstaley.com/ |
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