Lynn Bianchi is a New York City-based fine art photographer and multi-media artist who has shown work in over thirty solo exhibitions and in museums worldwide. She was a visiting artist at the American Academy in Rome. Additionally, Bianchi’s photographic art has been featured in over forty publications. Her work also resides in numerous private collections across the globe as well as in museum collections, including the Musée de L’Eysée in Lausanne, Switzerland, the Brooklyn Museum in New York City, and the Museum of Fine Arts in Houston, Texas.
Photography is essentially an act of recognition by street photographers, not an act of invention. Photographers might respond to an old man’s face, or an Arbus freak, or the way light hits a building—and then they move on. Whereas in all the other art forms, take William Blake, everything that came to that paper never existed before. It’s the idea of alchemy, of making something from nothing.”
~ Duane Michals
ALFRED STIEGLITZ was most influential in establishing photography as an art form in the United States. He pursued this cause by editing and publishing magazines, organizing photographers, operating galleries and crafting his own creative photographic images many of which were printed in photogravure. He promoted the photogravure process as an original means of photographic printmaking.
Stieglitz secured hands-on experience with photogravure and used it extensively for his work and the images of fellow pictorialists around the turn of the twentieth century. He initially worked at the Photochrome Engraving Company, in New York, where he gained intimate knowledge of photogravure and other printing processes. In 1897, he issued Picturesque Bits of New York and Other Studies, a portfolio of his own large-format gravures, for which he personally made the film positives for plate making. At this time he marketed his individual photogravures as collectible, original works of art, numbering, signing and printing them in limited editions.
Stieglitz used the photogravure process for most of the illustrations in his groundbreaking periodicals, Camera Notes (1897-1903) and Camera Work (1903-1917). The photogravures in these journals, all personally approved by Stieglitz, enabled a larger audience for once to experience the artful qualities of photography. He was so confident of the quality of these gravures that he occasionally sent them to be displayed at international exhibitions of artistic photographs.
Stieglitz’s own work passed through three distinct phases. He began as a naturalist photographer sensitively portraying rural lifestyles. He then became a pictorialist, creating impressionistic pictures through soft-focus effects. Finally, he turned modern, embracing abstraction, photographic detail, and realistic tones
Lynn Bianchi is a New York City-based fine art photographer and multi-media artist who has shown work in over thirty solo exhibitions and in museums worldwide, including the Tokyo Metropolitan Museum of Photography, Japan; the Musée de l’Elysée in Lausanne, Switzerland; Musée Ken Damy, Brescia, Italy; 21c Museum, Louisville, Kentucky and the Art Gallery of Ontario in Toronto, Canada. Her photographic art has been featured in over forty publications, including the Encyclopedia of Food and Culture in the U.S., Vogue Italia and Zoom in Italy, Phot’Art International in France, and GEO in Germany. Bianchi’s work resides in numerous private collections across the globe as well as in museum collections including The Museum of Fine Arts in Houston, Texas; the Brooklyn Museum, New York and the Biblioteque Nationale de France, Paris. In 2012, her work was exhibited in the Armory Show at Salomon Arts Gallery and in a two-person show at One Art Space, both in New York City. Soon, Bianchi’s Heavy in White work will be featured in an upcoming book and exhibition entitled “SometimesBeautiful” curated by Michael J. Beam. She is also being featured in the revolutionary Art Photo Index, an online platform for artists.
My images reflect my love of mythology, paradox, and the juxtaposition of light and dark, beauty and beast. I am continually drawn to concepts involving the subconscious, alienation, time, memory, deconstruction, duality, and transcendence. Rather than approaching self-portraiture from a purely autobiographical perspective, I enjoy exploring the boundaries between “self” and “other” through the creative interpretation of identity, archetype, myth, and memory. By embracing the roles of stylist, photographer, and model, I can more deeply explore my conceptual ideas as the subject that is integrated into, rather than separate from the photograph.
I am interested in the visual representation of states of consciousness and ephemera, and the ways in which the deliberate invocation of entropy can create beauty. My photographs represent my desire to integrate and contain opposites, to drop form, and to question temporal reality .
My non-self portrait bodies of work express similar sensibilities, and are explorations and aspects of the same world.