Sharon Lockhart (born 1964) is an American artist whose work considers
social subjects primarily through motion film and still photography,
often engaging with communities to create work as part of long-term
projects. She received her BFA from the San Francisco Art Institute in
1991 and her MFA from Art Center College of Design in 1993. She has
been a Radcliffe fellow, a Guggenheim fellow, and a Rockefeller
fellow. Her films and photographic work have been widely exhibited at
international film festivals and in museums, cultural institutions,
and galleries around the world. She was an associate professor at the
University of Southern California's Roski School of Fine Arts,
resigning from the school in August 2015 in response to the continued
administrative turmoil at Roski to take a position at the California
Institute for the Arts. Lockhart lives and works in Los Angeles,
California.For Goshogaoka Girls Basketball Team, a series of 12
photographs, Lockhart turned to images of a girls' basketball team at
a school in the Tokyo suburb of Goshogaoka, mimicking the style of the
professional athlete's publicity still. The images were made in
conjunction with the artist's first film, Goshogaoka, of the team
executing elaborate (actually choreographed) practice drills. Whereas
the camera in Goshogaoka remains fixed in one place the entire film,
the viewpoint is constantly changing in Goshogaoka Girls Basketball
Team, creating visual movement around the gym as well as around the
players.In Teatro Amazonas (1999), an audience seated in the
neoclassical opera house of the same name in Manaus, Brazil, looks
back at the camera and the viewer throughout the duration of the film.
Photographed from a stationary camera positioned on the stage at the
front of the theater, one unedited take shows the audience listening
to a live performance by the Choral do Amazonas choir. The musical
score, an original choral composition written by Californian composer
Becky Allen, begins with a solid chordal mass which gradually becomes
silent over twenty-four minutes. As the sound of the choir diminishes,
the audience sound rises.In 2003, Lockhart returned to Japan to create
a series of works with local farmers. Her film NŌ, created in
conjunction with a movement coordinator, depicts two farmers as they
cover a field in hay. Throughout the duration of the film, they move
incrementally closer to the fixed-frame camera, eventually returning
to the back of the now hay-covered farmland. This project also
includes the No-No Ikebana series of works. In these, the artist
photographed the life cycles of plants arranged according to the
Japanese art of ikebana over 31 days.
social subjects primarily through motion film and still photography,
often engaging with communities to create work as part of long-term
projects. She received her BFA from the San Francisco Art Institute in
1991 and her MFA from Art Center College of Design in 1993. She has
been a Radcliffe fellow, a Guggenheim fellow, and a Rockefeller
fellow. Her films and photographic work have been widely exhibited at
international film festivals and in museums, cultural institutions,
and galleries around the world. She was an associate professor at the
University of Southern California's Roski School of Fine Arts,
resigning from the school in August 2015 in response to the continued
administrative turmoil at Roski to take a position at the California
Institute for the Arts. Lockhart lives and works in Los Angeles,
California.For Goshogaoka Girls Basketball Team, a series of 12
photographs, Lockhart turned to images of a girls' basketball team at
a school in the Tokyo suburb of Goshogaoka, mimicking the style of the
professional athlete's publicity still. The images were made in
conjunction with the artist's first film, Goshogaoka, of the team
executing elaborate (actually choreographed) practice drills. Whereas
the camera in Goshogaoka remains fixed in one place the entire film,
the viewpoint is constantly changing in Goshogaoka Girls Basketball
Team, creating visual movement around the gym as well as around the
players.In Teatro Amazonas (1999), an audience seated in the
neoclassical opera house of the same name in Manaus, Brazil, looks
back at the camera and the viewer throughout the duration of the film.
Photographed from a stationary camera positioned on the stage at the
front of the theater, one unedited take shows the audience listening
to a live performance by the Choral do Amazonas choir. The musical
score, an original choral composition written by Californian composer
Becky Allen, begins with a solid chordal mass which gradually becomes
silent over twenty-four minutes. As the sound of the choir diminishes,
the audience sound rises.In 2003, Lockhart returned to Japan to create
a series of works with local farmers. Her film NŌ, created in
conjunction with a movement coordinator, depicts two farmers as they
cover a field in hay. Throughout the duration of the film, they move
incrementally closer to the fixed-frame camera, eventually returning
to the back of the now hay-covered farmland. This project also
includes the No-No Ikebana series of works. In these, the artist
photographed the life cycles of plants arranged according to the
Japanese art of ikebana over 31 days.
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