Tara Bogart
Un Capillaire Modern Etude

Exhibition: November 6 – Dec 17, 2013

In an era where most images have been fashioned to fit an ideal of airbrushed, spray tanned, artfully coiffed perfection, the almost effortless authenticity of the cameo-like photographs in Tara Bogart’s ‘Un Capillaire Modern Etude’ is refreshingly unpretentious. Bogart visibly agrees with early 20th century American photographer Edward Weston, who valued “the stark beauty that a lens can so exactly render presented without interference of artistic effect.” This direct unfiltered approach to honest beauty is her current trademark and focus for continuous evolution.

Bogart is an artist whose passion for photography emerged early in life in her native Milwaukee. Inspired by an archival image of Felix Nadar’s Hair Study while visiting the National Library of France in 2011, Tara created a series of intimate portraits of women. Focusing solely on their often-unnoted backs and their much-observed hair, she forces the viewer “to contend with all of the peripheral things that make each woman unique.”

In her newest “chapter” of this series, Tara continues this ongoing approach to beauty – modern women displayed in an atypical setting – interpreted within a new cultural nexus: yet maintaining full circle integrity. Shooting 43 women in 4 days, she’s come back to Paris, the works conceptual inception; traversing a continent for an initial US perspective; now back for an in-depth new Parisian juxtaposition.

Within the US study of women, our immediate attention was captured by variations in hairstyle, color and embellishment: ranging from plumage-like purple hair to vivid body art expressed in angel wings. Tara’s element of surprise that crystallized her view of American beauty was the addition of “ink” as an element of declaring individualized beauty, which she captured so clearly in each image.

Tara’s enlightenment and discovery of femininity and anonymity in viewing beauty has continued into her next series in Paris. Expecting a truly classic, Parisian feminine beauty mystique (conventionally personified in films, advertising, et al) she was once again startled to view a new POV: her French female subjects’ beauty as more muscular and natural than the traditional petite personification many see as the French norm. There was a distinct confidence that accentuated each woman’s beauty that underscored and strengthened both the perception and actuality; without the need for additional adornment or embellishment.

Our immediate attention is captured by rachel, whose restricted androgynous aesthetics contrasts with distinct touches of femininity. Another standout is elise whose muscular frame is vividly almost three-dimensional, yet her tousled, classic chignon accentuates and adds a touch of femininity to her neckline. gwennhaell, represents a unique portrait of beauty capturing naturally radiant ombre hair with all its natural curls, while her adornments: graphic, even masculine, are softened by the delicate presence of her numerous freckles.

Our immediate attention is captured by rachel, whose restricted androgynous aesthetics contrasts with distinct touches of femininity. Another stand-out is elise whose muscular frame is vividly almost three-dimensional, yet her tousled, classic chignon accentuates and adds a touch of femininity to her neckline. gwennhaell, represents a unique portrait of beauty capturing naturally radiant ombre hair with all its natural curls, while her adornments: graphic, even masculine, are softened by the delicate presence of her numerous freckles.

Bogart’s geographic explorations led her to question ”What is beauty and what does beauty actually mean?” With this exciting realization, Tara has been reinvigorated – that exploring cultural nuances of beauty is an ongoing project – meriting further pursuit and exploration. When asked of Tara, “What do Parisian women have that we/American women don’t?”, she responded “…good question. I believe that they have struggles, too. However, they are not worn as outwardly as ours. If you look at the French women and what we know about their culture, we see it in their backs. There’ s a confidence in their gesture(s) and in the way that they wear their hair.”

If the “role of the artist is to observe the beauty that others miss and help them see it through their creative pursuits” (Gary Lanthrum), Bogart achieves a level of reflection that adroitly fulfills that brief. Framing her work with the simplicity of a blush colored background, she accentuates the sensuous womanliness of each photograph. Latin philosopher, Augustine of Hippo opined “Oh, beauty, ever ancient and ever new.” In ‘Un Capillaire Modern Etude,’ Bogart provides us with a gentle reminder of the immutable nature of femininity, irrespective of era or culture.

Tara Bogart was born in Milwaukee, Wisconsin and has exhibited work at The Portrait Society Gallery, Milwaukee, Milwaukee Institute of Art & Design, Grava Gallery, 1934 Seconds Street, Magnolia & Co., Katie Gingrass Gallery, H2O Gallery, Art and Soul Gallery, Review Santa Fe 100, Collect. Give and the Wisconsin Art’s Now Biennial, Charles Allis Art Museum, Milwaukee. She has participated in shows juried by Todd Hido at Rayko Gallery San Francisco, Catherine Edelman of Catherine Edelman Gallery and Brian Ulrich for the Coalition of Photographic Arts. At present, she is an educator at the Milwaukee Institute of Art & Design.