Doug & Mike Starn (American, b. 1961) L1986. Unsigned. Toned silver print, steel, tape, and wood, 48 x 48 in. (121.9 x 121.9 cm), unframed. Condition: Good. Literature: Grundberg, Andy, Mike and Doug Starn (New York: Harry N. Abrams, Inc. 1988). N.B. Doug and Mike Starn are identical twins who work collaboratively to create uniquely innovative psychological photographs. Born in New Jersey, the Starns trained at the School of the Museum of Fine Arts, Boston. This piece was done in 1986, the same year the Starns has their first show in New York, at Stux Gallery. Their unique style infuses iconic images with new depth and meaning; once straightforward photographs become suddenly personal through their "handmade" manipulation as they confront the viewer with their notions of intimacy, aging, mortality. The Starns tear, crease, crop and otherwise "damage" in the traditional sense of the word. They also expose the paper to chemicals to create variations in tones and clarity. The works are also, often broken up and remounted. The result is "hermetic world, the stuff of a Gothic novel" and the object becomes a type of relic left to be discovered by the viewer. (1) (1) Grundberg, Andy Mike and Doug Starn (New York: Harry N. Abrams, Inc. 1988). p 13. A copy of the book accompanies the lot.
Doug & Mike Starn (American, b. 1961) L1986. Unsigned. Toned silver print, steel, tape, and wood, 48 x 48 in. (121.9 x 121.9 cm), unframed. Condition: Good. Literature: Grundberg, Andy, Mike and Doug Starn (New York: Harry N. Abrams, Inc. 1988). N.B. Doug and Mike Starn are identical twins who work collaboratively to create uniquely innovative psychological photographs. Born in New Jersey, the Starns trained at the School of the Museum of Fine Arts, Boston. This piece was done in 1986, the same year the Starns has their first show in New York, at Stux Gallery. Their unique style infuses iconic images with new depth and meaning; once straightforward photographs become suddenly personal through their "handmade" manipulation as they confront the viewer with their notions of intimacy, aging, mortality. The Starns tear, crease, crop and otherwise "damage" in the traditional sense of the word. They also expose the paper to chemicals to create variations in tones and clarity. The works are also, often broken up and remounted. The result is "hermetic world, the stuff of a Gothic novel" and the object becomes a type of relic left to be discovered by the viewer. (1) (1) Grundberg, Andy Mike and Doug Starn (New York: Harry N. Abrams, Inc. 1988). p 13. A copy of the book accompanies the lot.
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