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American photographer Deborah Turbeville defies classification. She belongs to no school nor movement. Her unique visual signature has been recognizable since her emergence as a major talent in the 1970s. Her images are evocative, difficult to date at first glance, and seem dreamlike to our twenty-first-century eyes, a very different representation of feminine beauty from the highly sexualized works of her male contemporaries.This new publication focuses on the area of Turbevilles practicewhere her genius as an artist can be found: photocollage. In contrast to her contemporaries in fashion photography, she was deliberately playful with her images: xeroxing, cutting, scraping, and pinning prints together, writing in the margins and creating narrative sequences. Her work is located far from single, glossy images. It inhabits a liminal zone between art and commerce.Deborah Turbeville: Photocollage
American photographer Deborah Turbeville defies classification. She belongs to no school nor movement. Her unique visual signature has been recognizable since her emergence as a major talent in the 1970s. Her images are evocative, difficult to date at first glance, and seem dreamlike to our twenty-first-century eyes, a very different representation of feminine beauty from the highly sexualized works of her male contemporaries.This new publication focuses on the area of Turbevilles practicewhere her genius as an artist can be found: photocollage. In contrast to her contemporaries in fashion photography, she was deliberately playful with her images: xeroxing, cutting, scraping, and pinning prints together, writing in the margins and creating narrative sequences. Her work is located far from single, glossy images. It inhabits a liminal zone between art and commerce.Deborah Turbeville: Photocollage