{"id":115980,"date":"2017-09-26T13:00:12","date_gmt":"2017-09-26T17:00:12","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=115980"},"modified":"2017-09-26T16:05:19","modified_gmt":"2017-09-26T20:05:19","slug":"tina-barneys-embarrassment-riches","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/09\/26\/tina-barneys-embarrassment-riches\/","title":{"rendered":"Tina Barney\u2019s Embarrassment of Riches"},"content":{"rendered":"
<\/a>

Tina Barney, Self-Portrait<\/em>, 2014.<\/p><\/div>\n

 <\/p>\n

For the photographer Tina Barney, proximity to, and membership in, the upper class has come to define her body of work chronicling the life of the patrician set. Her images, taken over\u00a0some forty years, are at once a choreographed glimpse into the lives of the leisure class and candid meditations upon universal themes of family. Barney\u2019s recently published an\u00a0eponymous monograph<\/a>\u2014with an introduction by Peter Galassi, the former curator of photography at the Museum of Modern Art\u2014comes at a time when economic inequality is at the forefront of people\u2019s minds. Here, she reflects on the critical reception of her work, the importance of time in her photographs, and the role of family in creating them.<\/em><\/p>\n

<\/p>\n

INTERVIEWER<\/p>\n

You\u2019ve noted many times in past interviews that you\u2019ve never consciously set out to photograph the \u201cupper class.\u201d You were, in your words, \u201cphotographing family and friends.\u201d How do you respond to those who discuss your work within the context of wealth, of social status?<\/p>\n

BARNEY<\/p>\n

I never really think about it. It\u2019s the viewer, the writer, the critic, who puts that subject matter on me. It\u2019s almost not interesting for me to talk about it, but then, people are so fascinated by it that I guess it must be interesting. My fascination is with the repetition of traditions and rituals. The idea that families, no matter where they come from, kind of do the same thing. They get up, they make breakfast, they go to school, they come back, they have Christmas, they have Halloween.<\/p>\n

INTERVIEWER<\/p>\n

Where do your photos fit within the climate of America today versus when you were exhibiting them in the eighties? It seems to me that the eighties embraced wealth, and that that attitude changed after the 2008 financial crisis.<\/p>\n

BARNEY<\/p>\n

Let\u2019s just say it\u2019s not the tools that\u00a0are different, it\u2019s the props.<\/p>\n

INTERVIEWER<\/p>\n

Perhaps, because of the intensive setup involved in shooting on large format, your images possess a tension between the composed and the candid, the staged and the spontaneous.<\/p>\n

BARNEY<\/p>\n

You got it. They\u2019re kind of sloppy. Really, if you go back and look at images from the eighties, there are so many photographic mistakes that most people wouldn\u2019t keep, and that\u2019s the difference\u2014I would leave the mistakes. I think that\u2019s why they look unpretentious and believable.<\/p>\n

INTERVIEWER<\/p>\n

Speaking of timing, your photographs seem to exist in this perpetual summer.<\/p>\n

BARNEY<\/p>\n

That\u2019s because it\u2019s the best time to photograph, right?<\/p>\n

INTERVIEWER<\/p>\n

You\u2019ve said before that when you first began taking pictures, you photographed what was in front of you\u2014your family. But why have you continued to photograph them?<\/p>\n

BARNEY<\/p>\n

I felt I hadn\u2019t finished answering a question. It just kept on getting more interesting. The deeper I went, the more interesting it became. It\u2019s like a drug. I just can\u2019t stop. I could go on forever and ever. I could keep photographing. I haven\u2019t finished yet. It just isn\u2019t finished.<\/p>\n

INTERVIEWER<\/p>\n

How do you see your images connecting with millennials, with the younger generation?<\/p>\n

BARNEY<\/p>\n

I have absolutely no idea. I hadn\u2019t thought about it. I have a terrible feeling, because I mentor at the School of Visual Arts, that people that age already don\u2019t really care about my photographs. I think they\u2019re interested in things that go fast, and\u00a0in otherworldly experiences.<\/p>\n

INTERVIEWER<\/p>\n

If you ask me, Newport, Rhode Island, can be otherworldly, too. Last question\u2014why do you prefer printing your images in such large format?<\/p>\n

BARNEY<\/p>\n

In my big prints, I want everybody to be able to see the detail of the quality in the pictures. Of course, my photographs aren\u2019t monumental at all when you compare them to the other things happening in photography now. But back in the eighties, it was a big deal. And for me, it was in order to see more. That\u2019s all I wanted to do.<\/p>\n

\"\"<\/a>

Jill and Polly in the Bathroom<\/em>, 1987.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Marina\u2019s Room<\/em>, 1987.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Mr. and Mrs. Castelli<\/em>, 1998.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

The Lipstick<\/em>, 1999.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

The Matador<\/em>, 2003.<\/p><\/div>\n

 <\/p>\n

Joseph Akel is a writer based in New York City and San Francisco. A regular contributor to <\/em>Artforum, <\/em>Frieze, and <\/em>ArtReview, among others, he is a Ph.D. candidate in the University of California, Berkeley\u2019s Rhetoric Department.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

  For the photographer Tina Barney, proximity to, and membership in, the upper class has come to define her body of work chronicling the life of the patrician set. Her images, taken over\u00a0some forty years, are at once a choreographed glimpse into the lives of the leisure class and candid meditations upon universal themes of […]<\/p>\n","protected":false},"author":705,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[705,30746,30747,10737,1377,7072,30745],"class_list":["post-115980","post","type-post","status-publish","format-standard","hentry","category-look","tag-moma","tag-monograph","tag-newport","tag-peter-galassi","tag-rhode-island","tag-rizzoli","tag-tina-barney"],"acf":[],"yoast_head":"\nTina Barney\u2019s Embarrassment of Riches by Joseph Akel<\/title>\n<meta name=\"description\" content=\"Barney\u2019s photographs are at once a glimpse into the lives of the leisure class and candid meditations upon universal themes of family.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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