Bio

Vesna Pavlovic (Serbia/US) obtained her MFA degree in Visual arts from Columbia University in 2007. She is an Associate Professor of Art at Vanderbilt University where she teaches photography and digital media. She has exhibited widely, including solo shows at the Frist Center for the Visual Arts in Nashville, Museum of History of Yugoslavia and the Salon of the Museum of Contemporary Art in Belgrade, and the Crocker Art Museum in Sacramento. She has been featured with a solo presentation at the Untitled, 12th Istanbul Biennial, 2011, and in group exhibitions in the Museum of Contemporary Photography in Chicago (Spectator Sports), Bucharest Biennale 5, Romania (Tactics for the Here and Now), Le Quartier Center for Contemporary Art in Quimper, France (From Closed World to the Infinite Universe), NGBK in Berlin, Germany (Spaceship Yugoslavia, The Suspension of Time), Museum of Contemporary Art in Belgrade (Conversations), Serbia, Photographers' Gallery in London (Mediterranean, Between Reality and Utopia), Kettle's Yard in Cambridge, UK (Rear View Mirror), and FRAC Center for Contemporary Art in Dunkuerqe, France (De-Collecting). Pavlovi? has been awarded grants from the Art Matters Foundation, Foundation for Contemporary Arts, CEC ArtsLink, Schepp Foundation, and residencies at the FAIR Copenhagen, NIFCA Helsinki, and Location One, New York. She is the recipient of the Robert Penn Warren Fellowship at Vanderbilt University in 2010 (Representation and Social Change). Her work is included in major private and public art collections, Phillips Collection and Hirshhorn Museum and Sculpture Garden, in Washington DC, and Museum of Contemporary Art, Belgrade, Serbia, among others. Pavlovi?’s work has been reviewed in Art Forum magazine, Art Papers, Camera Austria, Washington Post, and others. Pavlovi?’s work is represented by G Fine Art in Washington DC, Whitespace Gallery in Atlanta, and Zeitgeist gallery in Nashville.

Artist Statement

My photographic projects examine visual representations of social groups and explore technological and material aspects of photographic media. I investigate photographic modes of display and possibilities of photographic representation. Expanding the photographic image beyond its frame, traditional format, and the narrative is central to my artistic strategies. In my projects, I challenge the role of the photographer in production of images, and contest the idea of the photographic moment. Recently, I built on these themes to examine photographic representation of speci?c political and cultural histories. These representations include photographic archives and related artifacts, which I treat as material to produce new images and installations. I interrogate the impermanence of photographic archives and their preservation in advance of digital technologies.

I work with projected images. Turning a flat two-dimensional surface into a three-dimensional space offers a way to expand the perception and experience of images in space. I transform photographic images into objects, by way of their display, mounting, and placement in space. I try to activate the role of photographic equipment in the display of my work. These relations open a conversation between photography and installation. I work with analog photographic technology, treating it in a contemporary digital mode. Either presented as a photographic print, or as a projected image within installation, the pieces confront photographic representation, and attempt to reveal the layers constituting the image. I aspire to contest the medium of photography, applying strategies that challenge the conventional notions of production and display of photographic images.