Tina Barney

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Tina Barney

• 1945-

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Brief Biography
Born 1945 in New York City
Grew up in a well-to-do upper-middle class family
Pretty unafflicted childhood
Started taking snapshots of her family in mid-70s
as a housewife
These were done with 35mm black and white
Produced spontaneous-looking images of various
moments in the lives of her family and friends.
Began using large format in early 1980s- one of
the first photographers of this format.
Her photographs are known for their intimacy,
their immediacy, their well-crafted composition-
rich in detail and color. Their lack of emotion
(humanity), and their large scale.
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How people treat each other is more interesting
than the class they come from.
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Sunday New York Times, 1982
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Jill and Polly in Bathroom, 1987
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The Bridesmaid, 1994
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Jim and Phil at Graduation, 1985
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When people say that there is a distance, a
stiffness in my photographs, that the people look
like they do not connect, my answer is, that this
is the best we can do. This inability to show
physical affection is in our heritage.
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Marinas Room, 1987
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Marina and Peter, 1997
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The human gesture is one of the great loves of
my life.
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Shift in photographic style over 20
years Brings camera closer to her
subjects. Subjects interaction with the
camera - new awareness of camera -
confrontation of camera Compare
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Mother and Son, 1990
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The French Family, 2002
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The Dining Hall, 2001
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The Tapestry, 1996
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Graham Cracker Box, 1984
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"How can one photograph possibly explain a
relationship?"
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Father and Sons, 1996
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The Daughters, 2003
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Jill and I, 1993
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Julianne Moore and Family, 1999
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The Yellow Wall, 1996
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The Dirndls, 2004
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Is this fear of the inevitability of that final,
drastic loneliness what instigated this
obsessively frantic insistence to mark every
living inch of life so as to not miss one detail.
And with a stubbornness that I was born with, I
demand that you take notice, and not look over,
and never forget.
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(End)