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During my fellowship year I plan to continue my project entitled RePose. RePose exists as both a durational live performance and an ongoing collection of silver gelatin prints. The project examines the history of “women’s poses” across a wide range of sources including my own personal collection and site-specific archival research—the poses come from fashion, vintage pornographic magazines, artist monographs, art history books, museum catalogs, and anthropological studies that span centuries and continents. Over the course of my live performances, I choose poses from among these images to “re-pose” using my own body, slowly producing a series of new self-portraits in real time. The accumulation of the new photographic prints collectively gives way to a new typology of women’s poses that is stripped of its original source.
At the Wissenschaftskolleg I will engage in embodied research methods in the studio that will draw upon the history of re-enactment in dance, as well as incorporate body training techniques such as mime. This research will push and expand my project RePose into interdisciplinary and experimental forms beyond the parochial boundaries of photographic discourse.
Recommended Reading
Krajnak, Tarrah. El Jardín de Senderos Que Se Bifurcan. DAIS Books, 2021.
—. Master Rituals II: Weston’s Nudes. TBW Books, 2022.
—. RePose. Fw:Books, 2023.

© privat
2025/2026
Tarrah Krajnak, Artist
Associate Professor of Art
University of California, Los Angeles
Born in 1979 in Lima
BFA, Ohio Wesleyan University, MFA in Photography, University of Notre Dame
Arbeitsvorhaben
RePose
My photographic practice combines performance, archival research, writing, and video. I use the camera, my own indigenous body, and strategies of re-enactment, re-staging, and re-photography to build new relationships with the colonial materials of history. My work is rooted in conceptual photography, but in the re-materialization of the medium. I am interested in photography not as a means to document the world as it is, but as a tool for making visible submerged or forgotten histories, for collective imagining, and to open a dialogue between the past and present in order to challenge the structures of power, gender, race, and class.During my fellowship year I plan to continue my project entitled RePose. RePose exists as both a durational live performance and an ongoing collection of silver gelatin prints. The project examines the history of “women’s poses” across a wide range of sources including my own personal collection and site-specific archival research—the poses come from fashion, vintage pornographic magazines, artist monographs, art history books, museum catalogs, and anthropological studies that span centuries and continents. Over the course of my live performances, I choose poses from among these images to “re-pose” using my own body, slowly producing a series of new self-portraits in real time. The accumulation of the new photographic prints collectively gives way to a new typology of women’s poses that is stripped of its original source.
At the Wissenschaftskolleg I will engage in embodied research methods in the studio that will draw upon the history of re-enactment in dance, as well as incorporate body training techniques such as mime. This research will push and expand my project RePose into interdisciplinary and experimental forms beyond the parochial boundaries of photographic discourse.
Recommended Reading
Krajnak, Tarrah. El Jardín de Senderos Que Se Bifurcan. DAIS Books, 2021.
—. Master Rituals II: Weston’s Nudes. TBW Books, 2022.
—. RePose. Fw:Books, 2023.