• TITIAN: Group of Witnesses: detail of Presentation

    Endura metallic color print
    30 x 30 inch  |  2015

  • Search for Landscapes

    Photographic installation
    Variable  |  2011

  • Community Slide Show

    Photographic installation/performance
    Variable  |  2015

  • Fototeka

    Photographic installation with 400 vintage travel slides, five 35 mm slide projectors, five vintage projection screens, and five projection stands
    Variable  |  2013

  • Fototeka (Projection Still III)

    Archival pigment print
    20 x 30 inch  |  2015

  • Fototeka (Projection Still II)

    Archival pigment print
    20 x 30 inch  |  2015

  • Fototeka

    Installation including six archival pigment prints and 9’ x 14 ‘ curtain (Bijou 54 in IFR Greystone) modeled after the installation view of works by Gustav H. Wolff and Giorgio Morandi, curated by Arnold Bode, Documenta I, Kassel, 1955
    Variable  |  2013

  • The Archive

    Endura metallic color print
    30 x 38 inch  |  2013

  • Years of War, Decades of Peace

    Endura metallic color print
    30 x 38 inch  |  2013

VESNA PAVLOVIC Representation (3) Website CV

Nashville, TN | Photography
Bio:

Vesna Pavlović (Serbia/US) obtained her MFA degree in visual arts from Columbia University in 2007. She is an Assistant Professor of Art at Vanderbilt University where she teaches photography and digital media. She has exhibited widely, including solo shows at the Phillips Collection in Washington DC, the Frist Center for the Visual Arts in Nashville, Museum of History of Yugoslavia in Belgrade, and the Crocker Art Museum in Sacramento. She has been featured with a solo presentation at the Untitled, 12th Istanbul Biennial, 2011, and in group exhibitions at the City Art Gallery, in Ljubljana, Slovenia (Inside Out – Not So White Cube), the New Art Gallery Walsall, Walsall, UK (Found), the Bucharest Biennale 5, in Bucharest, Romania (Tactics for Here and Now), Museum of Contemporary Photography in Chicago (Spectator Sports), Le Quartier Center for Contemporary Art in Quimper, France (From Closed World to the Infinite Universe), NGBK in Berlin, Germany (Spaceship Yugoslavia, The Suspension of Time), Museum of Contemporary Art in Belgrade (Conversations), Serbia, Tennis Palace Art Museum in Helsinki, Finland (Situated Self, Confused, Compassionate, Conflictual), Photographers' Gallery in London (Mediterranean, Between Reality and Utopia), Kettle's Yard in Cambridge, UK (Rear View Mirror), and FRAC Center for Contemporary Art in Dunkuerqe, France (De-Collecting). In the nineties, in Belgrade, she worked closely with the feminist pacifist group Women in Black. Vesna Pavlović is the recipient of the Robert Penn Warren Fellowship at Vanderbilt University in 2010, City of Copenhagen Artist-in-Residence grant in 2011, and Contemporary Foundation for the Arts Emergency Grants in 2011 and 2014. She has received 2012 Art Matters Foundation grant. Her work is included in major private and public art collections, Phillips Collection and the Hirshhorn Museum and Sculpture Garden, in Washington DC, USA, and Museum of Contemporary Art, Belgrade, Serbia, among others. Selected publications include: Office Taste, co-authored with Casey Smith, Belgrade, Škart, 2005 and An Idyll on the Beach, Belgrade, Samizdat, 2001. Her work is represented by G Fine Art in Washington DC, Gallery Zeitgeist in Nashville, and whitespace in Altanta.

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Statement:

My photographic projects examine visual representations of social groups and explore technological and material aspects of photographic media. I investigate photographic modes of display and possibilities of photographic representation. Expanding the photographic image beyond its frame, traditional format, and the narrative is central to my artistic strategies. In my projects, I challenge the role of the photographer in production of images, and contest the idea of the photographic moment. Recently, I built on these themes to examine photographic representation of specific political and cultural histories. These representations include photographic archives and related artifacts, which I treat as material to produce new images and installations. I interrogate the impermanence of photographic archives and their preservation in advance of digital technologies. I work with projected images. Turning a flat two-dimensional surface into a three-dimensional space offers a way to expand the perception and experience of images in space. I transform photographic images into objects, by way of their display, mounting, and placement in space. I try to activate the role of photographic equipment in the display of my work. These relations open a conversation between photography and installation. I work with analog photographic technology, treating it in contemporary digital mode. Either presented as a photographic print, or as a projected image within installation, the pieces confront photographic representation, and attempt to reveal the layers constituting the image. I aspire to contest the medium of photography, applying strategies that challenge the traditional notions of production and display of photographic images.

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