sleeping with the farmer's daughter

A PORTFOLIO OF 40 IMAGES

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 Untitled, 1978, Gelatin silver print, color original, 7.25x9.5 inches

Untitled, 1978, Gelatin silver print, color original, 7.25x9.5 inches

ABOUT THIS SERIES

Sleeping With The Farmer's Daughter is a portfolio of 40 images from a larger body of work (152+ images) entitled "Phyllis: Portraits From The Private Life Of An American Wife." The full series is an extended photographic narrative focusing on one woman over a period of 17 years. A span of time - from newlywed wife to middle-aged spouse - where the issues of youth, the identities that have been established and the roles once assumed, are being redefined by the considerations of a new season. The promises and demands of marriage, family and home, fiscal responsibilities, physical changes, childbirth, parenting, and the death of one’s own parents all present new challenges and perspectives to the body and soul. In this, the thickness of life, birth and death are like polar coordinates propelling the self around an ever-expanding sphere of issues and obligations. Bound in servitude to and by sustenance from these common bonds, this midpoint of life serves host to a cauldron of personal concerns, private joys, and life defining events.

 

Portfolio size: 40 images*
Series size: 152+ images*

* The term "image" also denotes photo groups and grids

 

 Untitled, 1977 Early gelatin silver print 5.5X8.25 inches, 7x11 inch paper

Untitled, 1977
Early gelatin silver print
5.5X8.25 inches, 7x11 inch paper

 Untitled, 1980 Early gelatin silver print 8.25x5.5 inches, 11x7 inch paper

Untitled, 1980
Early gelatin silver print
8.25x5.5 inches, 11x7 inch paper

 Untitled, 1982 Early gelatin silver print 8.25x5.5 inches, 11x7 inch paper

Untitled, 1982
Early gelatin silver print
8.25x5.5 inches, 11x7 inch paper

 Untitled, 1982 Early gelatin silver print 5.5x8.25 inches, 11x7 inch paper

Untitled, 1982
Early gelatin silver print
5.5x8.25 inches, 11x7 inch paper

 Untitled, 1982 Early gelatin silver print 5.5x8.25 inches, 7x11 inch paper

Untitled, 1982
Early gelatin silver print
5.5x8.25 inches, 7x11 inch paper

 Untitled, 1982 Early gelatin silver print 8.25x5.5 inches, 11x7 inch paper

Untitled, 1982
Early gelatin silver print
8.25x5.5 inches, 11x7 inch paper

 Untitled, 1982 Early gelatin silver print 8.25x5.5 inches, 11x7 inch paper

Untitled, 1982
Early gelatin silver print
8.25x5.5 inches, 11x7 inch paper

 Untitled, 1982 Early gelatin silver print 5.5x8.25 inches, 7x11 inch paper

Untitled, 1982
Early gelatin silver print
5.5x8.25 inches, 7x11 inch paper

 Untitled, 1983 Early gelatin silver print 7.75x11.625 inches, 8.75x12.5 inch paper

Untitled, 1983
Early gelatin silver print
7.75x11.625 inches, 8.75x12.5 inch paper

 Untitled, 1983 Early gelatin silver print 5.5x8.25 inches, 7x11 inch paper

Untitled, 1983
Early gelatin silver print
5.5x8.25 inches, 7x11 inch paper

 Untitled, 1984 Early gelatin silver print 5.5x8.25 inches, 7x11 inch paper

Untitled, 1984
Early gelatin silver print
5.5x8.25 inches, 7x11 inch paper

 Untitled, 1984 2pt Early gelatin silver print 5.75x7.65 inches, 7x11 inch paper

Untitled, 1984
2pt Early gelatin silver print
5.75x7.65 inches, 7x11 inch paper

 Untitled, 1984 Early gelatin silver print 8.25x7.65 inches, 11x7 inch paper

Untitled, 1984
Early gelatin silver print
8.25x7.65 inches, 11x7 inch paper

 Untitled, 1984 Early gelatin silver print 5.5x8.25 inches, 7x11 inch paper

Untitled, 1984
Early gelatin silver print
5.5x8.25 inches, 7x11 inch paper

 Untitled, 1985 Early gelatin silver print 5.5x8.25 inches, 7x11 inch paper

Untitled, 1985
Early gelatin silver print
5.5x8.25 inches, 7x11 inch paper

 Untitled, 1985 2pt Early gelatin silver print 5.75x7.65 inches,, 7x11 inch paper

Untitled, 1985
2pt Early gelatin silver print
5.75x7.65 inches,, 7x11 inch paper

 Untitled, 1985 Early gelatin silver print 8.25x5.5 inches, 11x7 inch paper

Untitled, 1985
Early gelatin silver print
8.25x5.5 inches, 11x7 inch paper

 Untitled, 1986 Early gelatin silver print 5.5x8.25 inches, 7x11 inch paper

Untitled, 1986
Early gelatin silver print
5.5x8.25 inches, 7x11 inch paper

 Untitled, 1986 Early gelatin silver print 8.25x5.5 inches, 11x7 inch paper

Untitled, 1986
Early gelatin silver print
8.25x5.5 inches, 11x7 inch paper

 Untitled, 1987 2pt Early gelatin silver print 8.25X5.5 inches, 7x11 inch paper

Untitled, 1987
2pt Early gelatin silver print
8.25X5.5 inches, 7x11 inch paper

 Untitled, 1987 Early gelatin silver print 5.5x8.25 inches, 7x11 inch paper

Untitled, 1987
Early gelatin silver print
5.5x8.25 inches, 7x11 inch paper

 Untitled, 1987 Early gelatin silver print 5.5x8.25 inches, 7x11 inch paper

Untitled, 1987
Early gelatin silver print
5.5x8.25 inches, 7x11 inch paper

 Untitled, 1988 Early gelatin silver print 5.5x8.25 inches, 7x11 inch paper

Untitled, 1988
Early gelatin silver print
5.5x8.25 inches, 7x11 inch paper

 Untitled, 1989 Early gelatin silver print 8.25x5.5 inches, 11x7 inch paper

Untitled, 1989
Early gelatin silver print
8.25x5.5 inches, 11x7 inch paper

 Untitled, 1988 Early gelatin silver print 5.5x8.25 inches, 7x11 inch paper

Untitled, 1988
Early gelatin silver print
5.5x8.25 inches, 7x11 inch paper

 Untitled, 1990 2pt Early gelatin silver print, horizontal original 3.5x10.75 inches, 4.5x11.75 inch paper

Untitled, 1990
2pt Early gelatin silver print, horizontal original
3.5x10.75 inches, 4.5x11.75 inch paper

 Untitled, 1991 Early chromogenic print 5.5x8.25 inches, 6.5x9.5 inch paper

Untitled, 1991
Early chromogenic print
5.5x8.25 inches, 6.5x9.5 inch paper

 Untitled, 1991 Early chromogenic print 5.5x8.25 inches, 6.5x9.5 inch paper

Untitled, 1991
Early chromogenic print
5.5x8.25 inches, 6.5x9.5 inch paper

 Untitled, 1992 Early chromogenic print 8.25x5.5 inches, 9.5x6.5 inch paper

Untitled, 1992
Early chromogenic print
8.25x5.5 inches, 9.5x6.5 inch paper

 Untitled, 1992 Early chromogenic print 8.25x5.5 inches, 9.5x6.5 inch paper

Untitled, 1992
Early chromogenic print
8.25x5.5 inches, 9.5x6.5 inch paper

 Untitled, 1992 Early chromogenic print 5.5x8.25 inches, 6.5x9.5 inch paper

Untitled, 1992
Early chromogenic print
5.5x8.25 inches, 6.5x9.5 inch paper

 Untitled, 1992 Early chromogenic print 5.5x8.25 inches, 6.5x9.5 inch paper

Untitled, 1992
Early chromogenic print
5.5x8.25 inches, 6.5x9.5 inch paper

 Untitled, 1993 3pt Early chromogenic print 4.5X9 inches, 10x5.5 inch paper

Untitled, 1993
3pt Early chromogenic print
4.5X9 inches, 10x5.5 inch paper

 Untitled, 1993 3pt Early chromogenic print 9x4.5 inches, 10x5.5 inch paper

Untitled, 1993
3pt Early chromogenic print
9x4.5 inches, 10x5.5 inch paper

 Untitled, 1993 Early chromogenic print 7.75x11.625 inches, 8.75x12.675 inch paper

Untitled, 1993
Early chromogenic print
7.75x11.625 inches, 8.75x12.675 inch paper

 Untitled, 1993 Early chromogenic print 9.125x9.325 inches, 10x10.325 inch paper

Untitled, 1993
Early chromogenic print
9.125x9.325 inches, 10x10.325 inch paper

 Untitled, 1993, 2017 scan

Untitled, 1993, 2017 scan

 Untitled, 1993 Early chromogenic print 5.5x8.25 inches, 6.5x9.5 inch paper

Untitled, 1993
Early chromogenic print
5.5x8.25 inches, 6.5x9.5 inch paper

 Untitled, 1994 Early chromogenic print 5.5x8.25 inches, 6.5x9.5 inch paper

Untitled, 1994
Early chromogenic print
5.5x8.25 inches, 6.5x9.5 inch paper

 Untitled, 1994 Early chromogenic print 8.25x5.5 inches, 9.5x6.5 inch paper

Untitled, 1994
Early chromogenic print
8.25x5.5 inches, 9.5x6.5 inch paper



THERE AND BACK AGAIN

Thoughts about the series

As this work took shape in the late 1970’s, it seemed questionable to me that a single photographic portrait could sufficiently capture the essence of an individual in the moment, let alone across an extended period of time and changing life circumstances. However, I also believed that given a large enough series of carefully chosen images, taken over a long enough span of time, it would be possible to present a more candid, truthful, and more significant likeness - an extended portrait - showing context, experiences, and the fundamental nature of the individual. Creating in effect a composite image of one life being lived within the confines of time and space. I believed this expanded definition of portraiture, and these wider visual, spatial, and temporal borders would allow essential qualities and intrinsic aspects of the subject to be revealed more accurately. It was equally important for me to respect the limits and boundaries of what could be articulated visually. The final portrait needed to embrace the possible and respect the personal - those seen and unseen rules, agreements and trusts that exist in any lasting relationship. These boundaries would in turn provide a framework to work within and challenge me creatively. The process itself became my measure of success, slowly creating this more complex, holistic portrait of one human being. I thank my wife Phyllis for graciously opening her life to me and allowing me to share it with others.

Ever the teacher, Phyllis has shaped and given direction to my photography in numerous ways. Her innate artistic nature has given me a richer understanding of the world. Her sense of propriety has given me hard boundaries to remain aware of and work within. Her affable and adventurous being has expanded my own sense of inquisitiveness and provided me with the greatest of joys: a life-long companion. Perhaps of most interest is her broad intellect and deep insights, which have astounded me on occasions too numerous to mention. We of course have the same willful battles as any other couple. Our values and perspectives though similar are seldom the same, and often the source of considerable disagreement. Such is life. We deal with it, perhaps with humor, perhaps not. We learn from our mistakes, bending so not to break the bonds we have formed. We continue again, hopefully stronger and more attuned to the other. We move together across a shared time and space. Such is marriage and life.

As a photographer rather than a writer or public speaker, I am more comfortable communicating with images and speaking in visuals as my means of expression. I believe it would be a vain and disappointing exercise for me to attempt to write commandingly about the deeper meanings that I believe exist within this most personal of works. I will leave that to the photographs themselves, and to those more fluent in the lexicons of artistic critique. I will however suggest several sources and leads. The late John Berger in his landmark BBC series and book “Ways of Seeing” expresses a thought and a sympathy that can be considered the conceptual bedrock for this extended portrait series. His discussion of the nude verses the naked portrayal of women rang true in the 1970’s, and remains true these 40 years later. In addition, the term The Male Gaze has generated a wealth of written works and analysis, and I believe is ripe for revisiting with an historic photo-centrist twist. Concepts such as Martin Heidegger’s on being and time, isms and truisms in art and culture, and the Tao philosophy of Wu Wei have all had an impact on my thoughts and work. There are of course, many others. If this portrait has sufficient visual strength and conceptual substance, I believe an adept writer will have no difficulty expressing her or his thoughts clearly, concisely, and with enough straightforward ease that a visual person, like myself, will understand and agree with them.

This series ended in late 1994, with image selection and printing taking place during the following three years. Beginning in late 1998 I refocused my time and attention on the two major forces in my life - my family and my personal photographic journey - continuing to make images but forgoing the circuits, curriculums, and credentials traditionally required for success. Following this 20-year interlude, and coinciding with my retirement in 2018, I am enthused by the changes that have occurred and the numerous new photographic resources now available. I look forward to placing my work into these new photographic arenas. Thank you for your time and attention. Fell free to contact me. I’d like to hear your thoughts and opinions about the work. Sincerely,

-Bill Krumholz