Amy Herman

These images were created using Snapchat, an app meant for sending messages that disappear.  They were created as evidence, though fleeting that family and our younger selves exist within us.
Amy Herman, 2016
Amy Herman, 2001
Amy Herman, 1998
Matt Herman, 1997
Sharon Herman, 1997
Amy Herman, 1996
Amy Herman, 1991
Matt Herman, 1989
Matt Herman, 1987
Matt Herman, 1986
Ronald Herman, 1985
Arlene Herman, 1984
Arlene Herman, 1978
Arlene Herman, 1973
Sharon Herman, 1973
Ronald Herman, 1971
Sharon Herman, 1971
Sharon Herman, 1966
Sharon Herman, 1965
Ronald Herman, 1962
Sharon Herman, 1961
Ronald Herman, 1958
Sharon Herman, 1955
Ronald Herman, 1954
Barton Shinberg, 1950
Arlene Herman, 1950
Bernice Gill, 1949
Barton Shinberg, 1948
Arlene Herman, 1945
Bernice Gill, 1944
Arlene Herman, 1943
Jackie Gill, 1939


Digital prints on acrylic, 4.5"x2.5", shown in an installation of 40

These photographs were made during my time spent at the Skyline Artists in Residency at Goodyear as way to connect the history of the specific site with both the existing structure and the what the future may hold for the location. The imagery used in this project represent findings from research spanning 165 years on the site. Former uses of the site include: A single family home, three single-family homes, a bottling plant for the Portner Brewing Company, a cafe and a Used Auto Sales Lot. In using digital projections of hand drafted maps, vintage postcards and photographs, I explore the enormous technological growth as well as the confounding compression of information in the digital age.

Through this series of self-portraits, I examine how the people and places one considers intimate can inform identity. I translate banal scenes experienced in my everyday life into dramatic tableaux that place an exaggerated importance on the repetition of our most familiar surroundings. I play a variety of roles in my photographs, most notably that of daughter to my mother and father. Through my photographs I seek to challenge conventional familial relationships and understand how my role within that structure is constantly in flux.

Celia and Laura are two girls that make up a pair of identical twins.  My photographs of them investigate identity when there is a loss of physical individuality. The dependency on one another that Celia and Laura have learned since birth is constantly present and noticable even in the absence of one twin.  In the photographs, the girls react to each other and navigate their spaces as a duo.  Through this series, I attempt to enter into the private girl world that Celia and Laura have created through imagination, make-believe and the alienation of others.

These are photographs that have not found their projects and projects that have yet to be realized.