Transplant Ex Voto IV – 2015

Transplant Ex Voto IV ©2015
22” x 26”
Acrylic painting and photomontage collage
Transplant Ex Voto IV ©2015
22” x 26”
Acrylic painting and photomontage collage
Transplant Ex Voto III ©2015
22” x 26”
Acrylic painting and photomontage collage
Transplant Ex Voto II ©2015
22” x 26”
Acrylic painting and photomontage collage
Transplant Ex Voto I ©2015
22” x 26”
Acrylic painting and photomontage collage
Sheltering (Zine) 6 ©2020
13 ½” x 10” x ½”
Ink jet photographs made from a mixed-media assemblage
Sheltering (Zine) 2 ©2020
7”H x 5 ½”W (94”W open) x 1 ½”D
Ink jet photographs made from a mixed-media assemblage
Reflections ©2018
11” x 9” x 2
Ink jet photographs and mixed media
My Choice ©2016 – 2019
Collaboration with Victor Raphael
Terry Braunstein and Victor Raphael, Ink jet on rag paper 16” X 20”
The collaborative artwork of Terry Braunstein and Victor Raphael was motivated by a desire to create art in response to the political environment of the past few years. Four series are featured here; Climate Change, focusing on the world-wide crisis caused by rising global temperatures, The Wall, which reflects on how walls are both barriers to human connection and inhibit those escaping persecution, My Choice, dealing with a woman’s right to choose, and Lessons to be Learned, looking at the challenges and wonder of childhood.
Lessons to be Learned ©2016 – 2019
Collaboration with Victor Raphael
Terry Braunstein and Victor Raphael, Ink jet on rag paper 16” X 20”
The collaborative artwork of Terry Braunstein and Victor Raphael was motivated by a desire to create art in response to the political environment of the past few years. Four series are featured here; Climate Change, focusing on the world-wide crisis caused by rising global temperatures, The Wall, which reflects on how walls are both barriers to human connection and inhibit those escaping persecution, My Choice, dealing with a woman’s right to choose, and Lessons to be Learned, looking at the challenges and wonder of childhood.
The Wall ©2016 – 2019
Collaboration with Victor Raphael
Terry Braunstein and Victor Raphael, Ink jet on rag paper 16”x 20”
The collaborative artwork of Terry Braunstein and Victor Raphael was motivated by a desire to create art in response to the political environment of the past few years. Four series are featured here; Climate Change, focusing on the world-wide crisis caused by rising global temperatures, The Wall, which reflects on how walls are both barriers to human connection and inhibit those escaping persecution, My Choice, dealing with a woman’s right to choose, and Lessons to be Learned, looking at the challenges and wonder of childhood.
Climate Change ©2016 – 2019
Collaboration with Victor Raphael
Terry Braunstein and Victor Raphael, Ink jet on rag paper 16” X 20”
The collaborative artwork of Terry Braunstein and Victor Raphael was motivated by a desire to create art in response to the political environment of the past few years. Four series are featured here; Climate Change, focusing on the world-wide crisis caused by rising global temperatures, The Wall, which reflects on how walls are both barriers to human connection and inhibit those escaping persecution, My Choice, dealing with a woman’s right to choose, and Lessons to be Learned, looking at the challenges and wonder of childhood.
Time ©2018
Collaboration with Marco Schindelmann
Terry Braunstein and Marco Schindelmann (Collage Vivante) for soundpedro 2018
Soundpedro is an annual ear-oriented multi-sensory event, presenting artists whose work addresses sound and aural perception in combination with other senses, produced by the Long Beach artist group FLOOD, and hosted by Angels Gate Cultural Center. Unlike music, sound art is the aural equivalent of cinema, painting, theater, sculpture, and literature. “Sound art” as a term has been variously dated to 1974, 1979, and 1982. Since then artists have taken the genre in a variety of directions. Reframing the act of listening, works and performances explore the progression of sound from hearing to experience.
Soundpedro is not a music event. It is an experimental niche art event presenting ear-oriented art that investigates the way we perceive and experience sound.
Places Without Walls ©1987 and 2017
Collaboration with Dinah Berland
Terry Braunstein and Dinah Berland photomontages, artist’s book and zine
Cibachrome photographs 16” x 20” page size
In Places Without Walls artist Terry Braunstein and poet Dinah Berland took turns with image and text–Braunstein making a photomontage, Berland writing a poem, Braunstein responding to the poem with another image, and so on. This eventually resulted in a sequence of alternating images and poems. Because the intention was to remain spontaneous, Braunstein and Berland created pieces that could both stand alone as well as in combination. As they worked, they trusted that whatever twist or turn the work took would move it forward until they felt it was finished.
TV and the Dreamer ©1985
Cibachrome photograph made from photomontage.
11 ½” x 9”
Life in a Nuclear Age ©1985
Cibachrome photograph made from photomontage.
11” x 8 ½”
Geography of the Peace ©1988
Cibachrome photograph made from photomontage.
10 ½” x 8”
WHO IS SHE? – Series 3 ©2012
Inkjet print made from photomontage
80” x 44 1/2”
Retirement ©2011
15” x 20” Photomontage
Mixed-media photomontage
Scent ©2018
Mixed media: perfume bottles, ink jet images, wire, wooden shelves.
For solo exhibition at the Art & Olfaction Gallery, Los Angeles.
Approximate size of sculptures range between 6”x 3” to 10” x 5”
Reflections ©2019
54” x 72” x 30”
Mirrors, ink jet photographs, mixed media, dollhouse furniture, wire
Pandora’s Box ©2020
48” x 44” x 28”
Ink jet photographs, mixed media, wire
Ladders ©2016
54” x 72” x 30”
Ink jet photographs, mixed media, dollhouse furniture, wire
Do No Harm ©2017
soundpedro 2017 Installation:
Paintings
Ink jet prints
Cibachrome photographs
Sculptures
Installation
Video (Kate Lain)
Sound (Marco Schindelmann)
Broken Vows ©2017
54” x 44” x 30”
Mixed-media, ink jet photographs, dollhouse furniture, wire
About Time ©2020
54” x 72” x 30”
Ink jet photographs, mixed media, dollhouse furniture, wire
Sheltering ©2020
11 ½” x 7” x 3”
Sculpted artists book, ink jet photographs, wire and mixed-media
Broken Vows Ex Voto ©2017
Artists Book : Ink jet photographs made from photomontages
Video: Broken Vows Ex Voto (Pages turning)
Broken Vows ©2017
12 ½” x 15” x 3”
Sculpted artists book, ink jet photographs, wire, and mixed media
Video: Broken Vows (Pages turning)
Blind ©2019
12 ½” x 9” x 2 ½”
Ink jet photographs made from photomontages
Speak, Hands ©2004
11” x 8 1/2” x 1”
Collection: Los Angeles County Museum of Art)
“Though her art uses the techniques of collage and the aesthetics of photography, Braunstein considers herself neither a collagist nor a photographer. But while Braunstein always uses found images, never using the camera to create images, her art is in fact more closely related to photography than to collage, particularly to aspects of darkroom photography in her manipulating, clarifying, extracting, combining, and reproducing existing images. Her sole use of the camera is mechanical, to reproduce her collaged images so that in their final material form her words may appear to be authentic photo documentation rather than pieced paper constructions. She exploits the appearance of photography to deny the fact of her paper collages and in order to simulate documentary “reality.” Braunstein thus uses the camera for one of its oldest and original purposes: to fictionalize, much as such pioneering photographers as Oscar G Rejlander (1813-1875), Henry Peach Robinson (1830-1901 or the cinematographer Georges Méliès (1861-1938) created images that never existed except in their art.”
— Howard Fox is Curator of Contemporary Art at the Los Angeles County Museum of Art
“In addition to the photo collages or montages, Braunstein also creates books. The books have a far more hand-wrought quality, and are put into the world more as objects — as things — than as images of other things. But there are close similarities of concept and techniques with the photographs. As always, Braunstein utilizes existing sources — other books — to create her own books. She combines images extracted from her usual sources of magazines, books and printed matter, with illustrations or text pages from bound volumes such as children’s storybooks or scientific manuals. Some of her books “read” like normal books — that is, from one page to the next, in a sequence from first to last, and often there is a visual, if not always logical, narrative. But other of her books are sculptural with holes, windows and other contours cut through the pages, so that in turning from page to page, new information accumulates layer upon layer; these books are read not only from one page to another, but from one page through another. In the hands of the reader, one of Braunstein’s sculptural books becomes a kinetic sculpture whose visual and intelligible content changes with each turn of the page.”
— Howard Fox is Curator of Contemporary Art at the Los Angeles County Museum of Art
“The magic of Terry’s work is that she has given new meaning and unexpected context to a common symbol we all recognize. The combination of the grand scale and the intimate, often nostalgic images act to draw visitors to the site and invite interaction. Rarely, in public art projects, is the resolution of formal issues so beautifully married with the subject matter, which, for so many, is the heart of the memorial. Happily, Terry’s sculpture is an object of extraordinary beauty that succeeds on all levels and for all ages.”
— Constance Glenn, Director
University Art Museum
California State University, Long Beach
“There are as many definitions of “art” as there are expressions of it. If art is defined as a visual philosophy of life or a search for meaning, Terry Braunstein creates it. Whether expressed as a poignant view of human behavior, a nostalgic perception of things past, an honest look at life and loss, the wisdom learned from collective experience, desperate longing for love and desire, or anxious hope for the future, Braunstein’s art explores it all. Working in a variety of media that includes . . . . installations. . . she creates work that stimulates the mind and the heart on myriad levels.
Each visual narration (of her installations) can be interpreted as a poetic metaphor or a haunting allegory. A middle-aged man with one foot in a trashcan stares at a globe placed beyond his reach. An older woman slumps in a child’s wagon as red balloons float past her window. Two melancholy widows dance together as birds fly out of a gilded cage.”
— Shirle Gottleib
Art Scene
“To create a picture in the way that Terry Braunstein does is, in essence, to reassemble pieces of our familiar world into a surprising, yet convincing, new world. . . . There are no ready answers to the questions Braunstein poses, and no promise of a resolution forthcoming. In fact, there seem only to be more questions, and more cross-references. By importing the loaded content of mass media imagery into her artistic landscape, she not only challenges the assumptions implicit in contemporary culture but also addresses one of the basic aesthetic dilemmas: the interpretive gap between appearance and truth.”
— Noriko Gamblin, Curator
Long Beach Museum of Art