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- W775424658 abstract "Yvonne Todd: Creamy Psychology CITY GALLERY WELLINGTON WELLINGTON, NEW ZEALAND DECEMBER 6, 2014-MARCH 1, 2015 Two of Wellington's public galleries devoted entirety of their respective spaces to solo exhibitions by New Zealand artists this year, an exceedingly rare occurrence. The most recent of these ventures is City Gallery's Creamy Psychology, a formidably detailed and cohesive mid-career retrospective of photographer Yvonne Todd. Todd has enjoyed much support in past decade or so, particularly since becoming first recipient of country's prestigious Walters Prize in 2002, judged that year by venerable curator Harald Szeemann, who said Todd's was the work that irritated me most. (1) (The other major solo show in Wellington featured Simon Denny, Berlin-based nominee for prize in 2012 and last year.) Todd's images take their initial cue from tropes of commercial portrait photography, but tangle with an eclectic range of cultural phenomena derived from diverse sources along way. Todd consistently treads a fine line between grotesque and glamorous, seeking to acknowledge close, almost dialectical, relationship between two. While her works generally take form of large-scale, immaculately presented color prints, Todd is fascinated with states of unease, from eating disorders to crippling infirmities, as well as with subcultural groups, from fundamentalists to vegans. Todd has an avid fan's interest in popular culture, most often anachronistic and American, which also speaks to how many New Zealanders before ubiquity of broadband internet engaged with a culture industry generated thousands of miles away, and accessed largely through television, cinema, and magazines. Todd's women (her subjects are almost exclusively female) are often depicted as girl-children with glazed-over expressions--photographic Stepford beings occupying some nether region between studio setup and suburban locale. She is intrigued by toll taken by unrealistic expectations of celebrity culture, both on celebrities themselves, and on mere mortals who fantasize about them. Narratives around Christina Onassis, JonBenet Ramsey, Karen Carpenter, and Sybil, infamous for her sixteen distinct personalities, provide inspirational fuel for Todd's imagery. In Cheer (2001), six women's heads are viewed from behind, floating on a dark background, their carefully configured ponytails and elaborately plaited braids adorned with ribbons, giving us more than enough information to construct our own path through this oblique typological portrait/still life. …" @default.
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- W775424658 date "2015-03-01" @default.
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- W775424658 title "Yvonne Todd: Creamy Psychology" @default.
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