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IRENE CAESAR

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9_susanna_and_the_elders_triptych_right
Triptych "Susanna and the Elders", right part, Fall 2008 Photography © © irene caesar
17_inverts_diptych_judith_left
Diptych "Inverts", left part: "Judith with the Head of Holofernes", Fall 2008 Photography © Irene Caesar
18_inverts_diptych_salome_right
Diptych "Inverts", right part: "Salome with the Head of St. John The Baptist", Fall 2008 Photography © Irene Caesar
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Tribute to Slavery, Fall 2008 Photography © Irene Caesar
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Modern Still Life, Spring 2009 Photography © Irene Caesar
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Contribution to Abstract Expressionism, Spring 2009 Photography © Irene Caesar
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Contribution to Abstract Expressionism; Fragment, Spring 2009 Photography © Irene Caesar
23_flour_the_portrait_of_leyland_simmons_co_director_of_ballet_noir_nyc
Flour - Portrait of Leyland Simmons, co-director of Ballet Noir, NYC, Fall 2008 Photography © Irene Caesar
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Bouquet, Spring 2009 Photography © Irene Caesar
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Bouquet: Fragment, Spring 2009 Photography © Irene Caesar
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Alter-ego (series), Fall 2008 Photography © Irene Caesar
49_pat_mourning_her_own_death_the_series_double_portraits
Pat mourning her own death, Fall 2008 Photography © Irene Caesar
27_salvation_now
Salvation Now, Spring 2009 Photography © Irene Caesar
65_breaking_point
Breaking Point, Spring 2009 Photography © Irene Caesar
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Push: First Social Motion, Fall 2008 Photography © Irene Caesar
87_rickie_gal
Rickie Gal, Fall 2008 Photography © Irene Caesar
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Rickie Gal: Fragment, Fall 2008 Photography © Irene Caesar
35_templar_the_portrait_of_edmund_voyer_the_prior_of_knights_templar_nyc
Portrait of Edmund Voyer, Prior of Knights Templar, NYC, Fall 2008 Photography © Irene Caesar
13_wired
Wired, Fall 2008 Photography © Irene Caesar
14_wired_fragment
Wired: Fragment, Fall 2008 Photography © Irene Caesar
33_narcissus
Narcissus, Fall 2008 Photography © Irene Caesar
59_ballerina
Ballerina, Spring 2009 Photography © Irene Caesar
25_shroud1
Shroud 1, Spring 2009 Photography © Irene Caesar
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The Mode of Inferiority: Fragment, Fall 2008 Photography © Irene Caesar
Irenecaesar
© Irene Caesar
1_god_diptych_god_and_devil_left
Diptych "God and Devil": "God", 2008 Photography Mural Size © @ Irene Caesar
2_devil_diptych_god_and_devil_right
Diptych "God and Devil": "Devil", 2008 Photography Mural Size © © Irene Caesar
5_human_nature
Human Nature, 2008 Photography Mural Size © © Irene Caesar
15_the_curse_of_a_woman
The Curse of a Woman, 2009 Photography Mural Size © © Irene Caesar
16_the_curse_of_a_woman_fragment
The Curse of a Woman (fragment), 2009 Photography Mural Size © © Irene Caesar
21_adam_and_eve
Adam and Eve, 2008 Photography Mural Size © ©
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Adam and Eve (fragment), 2008 Photography Mural Size © © Irene Caesar
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Ash to Ash, Dust to Dust, 2009 Photography Mural Size © © Irene Caesar
151_twins
Twins, 2008 Photography Mural Size © © Irene Caesar
152_twins_fragment
Twins (fragment), 2008 Photography Mural Size © © Irene Caesar
137_dreamer
Dreamer, 2008 Photography Mural Size © © Irene Caesar
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Dreamer (fragment), 2008 Photography Mural Size © © Irene Caesar
57_mode_of_seriality_the_series_social_modes
Mode of Seriality, 2008 Photography Mural Size © © Irene Caesar
35_templar_the_portrait_of_edmund_voyer_the_prior_of_knights_templar_nyc
Templar (portrait of Edmund A. Voyer, Prior of Knights Templar, NYC), 2008 Photography Mural Size © © Irene Caesar
36_templar_fragment
Templar (fragment) (portrait of Edmund A. Voyer, Prior of Knights Templar, NYC), 2008 Photography Mural Size © © Irene Caesar
81_zorro_avenging_on_himself_the_series_double_portraits
Zorro Avenging on Himself (series "Double Portraits"), 2008 Photography Mural Size © © Irene Caesar
82_zorro_avenging_on_himself_fragment
Zorro Avenging on Himself (fragment) (series "Double Portraits"), 2008 Photography Mural Size © © Irene Caesar
127_warrior_the_series_tribute_to_the_war
Warrior (series "Tribute to the War"), 2008 Photography Mural Size © © Irene Caesar
128_warrior_fragment
Warrior (fragment) (series "Tribute to the War"), 2008 Photography Mural Size © © Irene Caesar
Irene_caesar_-_can_cameron
Dan Cameron contributes to Suprematism, 2010 Photography Variable © Irene Caesar
20101025042702-arthur_danto1
Arthur Danto with Wise Puffy Cheese Doodles, 2010 Photography Variable © irene caesar
20101025043047-arthur_danto_contributes_to_damien_hirst
Arthur Danto contributes to Damien Hirst's Spot Paintings, 2010 Photography Variable © irene caesar
20101025043243-easter_sunday_of_adcoleman5
The Easter Sunday of AD Coleman, 2010 Photography Variable © irene caesar
20101025044149-carter_ratcliff
Carter Ratcliff contributes to Deconstruction (triptych, left), 2010 Photography Variable © irene caesar
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Carter Ratcliff Contributes to Deconstruction (triptych, center), 2010 Photography Variable © irene caesar
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Carter Ratcliff contributes to Deconstruction (triptych, right), 2010 Photography Variable © irene caesar
20101025045221-self_portrait_as_three_graces
Self-portrait as the Three Graces, 2010 Photography Variable © irene caesar
20101025045515-vitaly_komar1
Vitaly Komar contributes to Transhumanism (in 5 parts, part 1), 2010 Photography Variable © irene caesar
20101025045832-my_own_little_caravaggio
My own little Caravaggio (portrait of Ellina Graypel), 2010 Photography Variable © irene caesar
20101025050203-pieta
Pieta, 2008 Photography Variable © irene caesar
20110629232316-close_to_elena_bonner_smaller
Elena Bonner in a Red Scarf, June 2011 Photography Variable © @Irene Caesar
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Quick Facts
Birthplace
St. Petersburg, Russia
Birth year
1963
Lives in
New York
Works in
New York
Representing galleries
Alexandre Gertsman Gallery (SoHo, NYC), Aragon Gallery (SoHo, NYC), Eduard Planting Gallery (Amsterdam), Grant Gallery (NYC), Juan Ruiz Gallery (Venezuela)
Tags
surrealism, photography, conceptual, exhibition/performance
Statement

 

IRENE CAESAR:  BIOGRAPHY

Irene Caesar was born in St. Petersburg, Russia in 1963 to a professor of psychology and to a history teacher.  She grew up in an elite circle of Russian intellectuals.  She received her education as an artist in the Peterhof art school, class of Mark Tumin, who transferred to her the legacy of Russian constructivism of the 1920s, surviving only via the oral tradition in word of mouth from a teacher to pupil under the strict veto of communists.  The message was to look for the meaningfulness of abstraction or for the constructivist foundations of the meaning.  In this tradition, art was necessarily conceptual, and philosophy and art were inseparable.  Irene Caesar received her BA in philosophy from St. Petersburg University, Russia in 1985.  Her visionary art and mystical teaching became widely known in Russia via multiple exhibitions in the major Russian Museums, radio and TV interviews, newspaper articles in the leading Russian newspapers, two documentary films for the St. Petersburg and all-Russia TV, and her book “Art of Spirits” published and distributed by Ivan Fyodorov, the major Russian publishing house at the time.  Irene Caesar participated in the decedent movement against the communist regime, was invited to make a speech at the founding conference of the Free Democratic Party of Russia in the days of the 1991 Putsch, and, finally, after 10 years as an artist in Russia, she emigrated to the US in 1994 with a visa O of extraordinary ability on the invitation of Chuck Levitan Gallery in SoHo, NYC.  In the US, she transitioned from the traditional media to the digital media, and refined her conceptualist vision of art by getting a Ph.D. in philosophy in 2009 from the CUNY Graduate Center in New York.  Her art work is in the Duke University Museum of Art, Zimmerli Museum at Rutgers University, and Bayly Museum at the University of Virginia.  Irene Caesar lives in New York.

IRENE CAESAR:  PHOTOGRAPHY STATEMENT

I only do staged photography, even if I shoot on location.  I am not interested in “f/64” documentary reportage, because I believe that reality is a creation of collective and individual consciousness, and the two-dimensional ready-mades of everday existence are simply a thin illusory surface hiding the reality where people truly dwell.  However, my take on staged photography is radically different from any staged photography known to me.  The difference is that I stage action produced in performances which very closely resemble theatre and cinema.  Usually, art photographers who create staged photography use 8x10 or 4x5 view cameras that do not have automatic focus and require subjects to be very still in front of the camera.  This carries on into the aesthetics of imaging.  The too-static staged photography seems to lack expressiveness and defeats its goals.  My goal is to create images of performances that make people live in front of the camera in a more intense way than how they live in their everyday lives.  In this sense, my staged photography is a counter-staged photography, as well as it is a counter-documentary reportage.  And that is why my images are not simply movie stills, which are the artificial and mannerist cuts from externalized action.

I define my style as theatre of absurd documented by photographic means.  The project “A New History of Ideas in Pictures” includes works done in the studio in the form of absurd performances.  Each image is a part of a set of images (usually 3 to 5), which represents the entire continuous performance.  The overall objective of the project is an ambitious programme to evaluate the major concepts of human civilization, like human nature, the origin of man, the universal good and evil, the Divine father and the Divine mother, the sacred and the profane, the sublime and the bestial, race, gender and its ambiguities, ego and alter-ego, fetish, super-hero, objectification of women, modes of mass consciousness like modes of seriality and patriarchal domination, modes of inferiority and suffering, and the attitudes towards death.

I predict that very soon humanity, as we know it now, will cease to exist, being changed by computational biology. We have little time left to document humanity in its pure form - with all its suffering and imperfection.

 

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