2008: The German Eye in America. Using digital tools directed through the
internet to study German photography in America, Sally Larsen proposes that
genetic memory and
epigenetic issues sway
aesthetics. The physical basis for the study center is a library of books and magazines which contain published photographs of the Americas taken by German-born photographers. This ongoing project utilizes the
internet and clearly defined determining factors to propose and assemble a comprehensive visual data mine involving more than 500 photographers and spanning 160 years.
2006: DNA: the Diaspora of
Native Americans. Sally Larsen poses questions about the
genetics of
aesthetics and the confluence of art and genetics. Her ongoing DNA
email campaign proposes to unite all Native Americans via
DNA testing to self define the greater Diaspora of Native Americans.
2001: Jizo Series. In the wake of the
September 11 attacks, Larsen began a large-scale C- print series which melds her photographic oeuvre with expressive hi-color gluon paintings.
During the 1980s and 1990s
2000: Millenniumm Time Capsule and Water, a Word Worth a Thousand Pictures at the
Oakland Museum of California use
multi-media to explore the complex issue of water.
2000: In the Manner of Animals celebrates twenty years of Chinese cultural exploration and martial art study with The Little Fighting Man Series.[3]
1993: Japlish presents 10 years of Sally Larsen's Asian photography from the streets of Tokyo, Osaka and Kyoto.[2]
1991: Sally Larsen exhibits orotone prints of photographs taken in an infamous
Tokyo cabaret known as Shiroi Heya or The White Room.[4]
1990: Transformer becomes the first digital fine art print included in the permanent collection of the New York City
Metropolitan Museum of Art. Working with
David Coons and
Graham Nash, Sally Larsen creates the Transformer series of Iris Ink jet prints in 1989. She had begun experimenting with
digital imaging in the mid 1980s.[5]
1982: Sally Larsen begins an ongoing series of monochrome images presented as
orotone photographs (gold-leafed gelatin silver prints on glass).[6]
Installations with projected video frescos
San Francisco (
Yerba Buena CenterSurf Trip 2000); Oakland (
Oakland MuseumMillennium Time Capsule 2000); Los Angeles (Bergemot Station Surf Trip 2001); and Seattle (Sacred Circle Big Bang 2001).
Publications
1993: Japlish (Pomegranate Art Books, San Francisco 1993;
ISBN1-56640-454-1) photographic monograph on Japanese T-shirt culture. Introduction by Neeli Cherkovski.
2000: -ine poems & In the Manner of Animals (Solo Zone 2000) features The Little Fighting Man / Hsin I series of orotone photographs. With Bartolomé Alberti.
2008: The German Eye in America. Using digital tools directed through the
internet to study German photography in America, Sally Larsen proposes that
genetic memory and
epigenetic issues sway
aesthetics. The physical basis for the study center is a library of books and magazines which contain published photographs of the Americas taken by German-born photographers. This ongoing project utilizes the
internet and clearly defined determining factors to propose and assemble a comprehensive visual data mine involving more than 500 photographers and spanning 160 years.
2006: DNA: the Diaspora of
Native Americans. Sally Larsen poses questions about the
genetics of
aesthetics and the confluence of art and genetics. Her ongoing DNA
email campaign proposes to unite all Native Americans via
DNA testing to self define the greater Diaspora of Native Americans.
2001: Jizo Series. In the wake of the
September 11 attacks, Larsen began a large-scale C- print series which melds her photographic oeuvre with expressive hi-color gluon paintings.
During the 1980s and 1990s
2000: Millenniumm Time Capsule and Water, a Word Worth a Thousand Pictures at the
Oakland Museum of California use
multi-media to explore the complex issue of water.
2000: In the Manner of Animals celebrates twenty years of Chinese cultural exploration and martial art study with The Little Fighting Man Series.[3]
1993: Japlish presents 10 years of Sally Larsen's Asian photography from the streets of Tokyo, Osaka and Kyoto.[2]
1991: Sally Larsen exhibits orotone prints of photographs taken in an infamous
Tokyo cabaret known as Shiroi Heya or The White Room.[4]
1990: Transformer becomes the first digital fine art print included in the permanent collection of the New York City
Metropolitan Museum of Art. Working with
David Coons and
Graham Nash, Sally Larsen creates the Transformer series of Iris Ink jet prints in 1989. She had begun experimenting with
digital imaging in the mid 1980s.[5]
1982: Sally Larsen begins an ongoing series of monochrome images presented as
orotone photographs (gold-leafed gelatin silver prints on glass).[6]
Installations with projected video frescos
San Francisco (
Yerba Buena CenterSurf Trip 2000); Oakland (
Oakland MuseumMillennium Time Capsule 2000); Los Angeles (Bergemot Station Surf Trip 2001); and Seattle (Sacred Circle Big Bang 2001).
Publications
1993: Japlish (Pomegranate Art Books, San Francisco 1993;
ISBN1-56640-454-1) photographic monograph on Japanese T-shirt culture. Introduction by Neeli Cherkovski.
2000: -ine poems & In the Manner of Animals (Solo Zone 2000) features The Little Fighting Man / Hsin I series of orotone photographs. With Bartolomé Alberti.