Tama Hochbaum

Tama Hochbaum (born 1953) is an artist and photographer living in Chapel Hill, North Carolina.[1]

Tama Hochbaum
Born1953 (age 66–67)
New York City
Alma materBrandeis University,
Queens College
Websitewww.tamahochbaum.com

Life

Hochbaum was born in New York City, and received her BA from Brandeis University in Fine Arts. Upon graduation, she was awarded a Thomas J. Watson Foundation Fellowship to study printmaking at Atelier 17 in Paris.[2] She later received a MFA in painting from Queens College in NYC in 1981.

She worked as a painter in Newton, Massachusetts for 20 years.

In 1991, during a four-month stay in Italy, an old interest in photography that had begun during her time in Paris re-emerged.[3]

In 1996, she and her family moved to North Carolina, where she currently lives.[4]

Process

Hochbaum has always been interested in making work about the passage of time. Her recent work consists of composite photo collages, in black and white and color. She begins with a grid of between 25 and 50 photos set up in columns and rows and works digitally to blend the individual panels to make a whole, a single picture plane. She always leaves a hint of fog at the border between the modules, never making a seamless image, to remind the viewer that this is no window one is looking through, this is the act of seeing itself, over time.

Previous to this portfolio, Hochbaum created shaped images, made up of individual panels printed into aluminum. She has used three distinct shapes - the symmetrical cross, the lintel or doorway and the Bi square, the empty square, or the squaring off of the Bi disc shape. She has also produced a series on the Silver Screen.[2] In this series, Hochbaum takes screenshots of classic movies broadcast on TV, warping images of famous Hollywood starlets (Audrey Hepburn, Greta Garbo and Lillian Gish among them)[5] before printing the image on aluminum panels. She has published a book with Daylight Books of the same name, SILVER SCREEN. Along with these series, she has created a number of slide shows to music; each contain hundreds of her images. Two of these pieces were commissioned by the University of North Carolina at Chapel Hill. One, Graffito, a collaboration with her husband the composer Allen Anderson, was screened in Memorial Hall in February 2011 as part of the North Carolina Digital Arts Festival. Another, return:radius, was screened at the FedEx Global Education Center as part of the Water of Life Festival in the Spring of 2013.[6]

She was represented by George Lawson Gallery in San Francisco and Los Angeles for 9 years.

Exhibitions

Recent solo exhibitions include:

  • Over/Time, solo booth at PhotoLA, with George Lawson Gallery, 2019
  • Over/Time; Imaging Landscape, CAM (Contemporary Art Museum) Raleigh, Raleigh, NC; 2018
  • From the Bi Series, George Lawson Gallery, San Francisco, CA, 2017
  • Time Passing: SILVER SCREEN and Legacy, Guilford College, 2017
  • Silver Screen: Dancers at George Lawson Gallery, San Francisco, 2015
  • Silver Screen, George Lawson Gallery, San Francisco, May 2014
  • Silver Screen, Digital Daylight Project Space, Hillsborough, North Carolina in July 2014
  • It Takes a Train, George Lawson Gallery, Los Angeles, CA, 2012
  • Moving Pictures at George Lawson Gallery, San Francisco in 2011, Night Rides and Other Moving Pictures at Cary Town Hall in 2010, Just for the Ride, at Gallery Nested in Carrboro, NC and Down the *Rabbit Hole at Golden Belt in Durham, North Carolina.

Recent group exhibitions include:

  • Into the Immense Design of Things, George Lawson Gallery, Mill Valley, California, 2020
  • Multiverse, George Lawson Gallery, Mill Valley, California, 2019
  • TRIBE, Center for Photographic Art, Carmel California, 2019
  • TRIBE, Henry Fox Talbot Museum, Wiltshire, England, 2018
  • METAL V, LIGHT: Art + Design, Chapel Hill, 2015
  • Actual Size'; Cassilhaus; Durham, NC, 2015
  • THE SCANNERS, The Carrack Modern Art, Durham, NC,2015
  • New and Improved at the Los Angeles Center for Digital Art in 2010
  • I'm So Glad it Happened at The Barn Gallery in 2010.[7]

Collections

Hochbaum's work is held in the following public collections:

Further reading
  • Tama Hochbaum: Road Grids, Composite Trees; introduction by George Lawson, essay by Amy White
  • The Herald Sun, May 8, 2009, "A Visual Banquet at Durham Art Guild" by Blue Greenberg
  • Manifest Creative Research Gallery, "Looking Through the Glass" catalog
  • Manifest Creative Research Gallery, Trick of the Light, by Denis Kiel
  • Indyweek, July 18, 2007, "Tama Hochbaum's World and Welcome To It: Views from Home"
  • The Chapel Hill News, March 7, 2007, "WHY?"
  • The Herald Sun, December 16, "Chapel Hill Town Hall Opens Corridors to Artists"
  • Boom Magazine, August, 2006, "Aquatica at Somerhill"
  • The Boston Phoenix, December 23, 2005, "10 Best of the Rest", Jeffrey Gantz
  • The Boston Phoenix, March 11, 2005, "Understated Dramas"
  • Carolina Alumni Review, January–February 2005
  • The Chapel Hill News, Sunday, November 7, 2004, Deborah Meyers
  • Baker, Kenneth (2015-02-27). "Gallery reviews: Sculptures that nose their way into our regard". SFGate. Retrieved 2018-04-23.
  • Lawson, George (2015-12-19). "Tama Hochbaum in Conversation with George Lawson". www.artsy.net. Retrieved 2018-04-23.
  • Vitiello, Chris. "Family photos inspired by Lewis Carroll's work". Indy Week. Retrieved 2018-04-23.

References
  1. "Tama Hochbaum". georgelawsongallery.com. Retrieved 2018-04-27.
  2. Smithson, Aline (2015-06-02). "Tama Hochbaum: Silver Screen". LENSCRATCH. Retrieved 2018-04-23.
  3. Lawson, George. "Tama Hochbaum Bio".
  4. "New and old galleries adapt to a shifting landscape". indyweek.com. Retrieved September 19, 2016.
  5. "Tama Hochbaum". George Lawson Gallery.
  6. Powers, Doris B. (March 21, 2013). "'Water of Life: Artistic Expressions' UNC Global Program Uniquely Deepens Concerns about World Water through Art and Music". cvnc.org. Chapel Hill, North Carolina.
  7. "TAMA HOCHBAUM". Retrieved 12 September 2018.
  8. "Magnolia '99". Museum of Fine Arts, Boston. Retrieved 2 March 2016.
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