Tad Beck received a B.F.A. in Photography from the School of Visual Arts, New York, in 1991, and an M.F.A. in Fine Art from Art Center College of Design, Pasadena, California, in 2003. He lives and works in Vinalhaven, Maine. Beck’s solo exhibitions include: the Los Angeles County Museum of Art, California; The Fisher Center at Bard College, Annandale-on-Hudson, New York; Samuel Freeman Gallery, Santa Monica; Marisa Del Re Gallery, New York; Nathalie Karg Gallery, New York; the Center for Maine Contemporary Art, Rockland; and Grant Wahlquist Gallery. Recent two-person exhibitions include collaborative works made with the artist Jennifer Locke at Los Angeles Contemporary Exhibitions, California, and an exhibition with Diana Cherbuliez at Theodore:Art, Brooklyn. Group exhibitions include: the Wadsworth Antheneum; Fotofest International, Houston; Spritmuseum, Stockholm; the Addison Gallery of American Art, Andover, Massachusetts; the Portland Museum of Art, Maine; the Worcester Art Museum, Massachusetts; the Ogunquit Museum of Art, Maine; Apex Art, New York; Rupert Goldsworthy Gallery, New York; Debs & Co., New York; Castelli Gallery, New York; Jancar Gallery, Los Angeles; and Monte Vista Projects, Los Angeles. His work is in the collections of the Addison Gallery of American Art, LACMA, the Portland Museum of Art (Maine), the Worcester Art Museum, the Museum of Fine Arts Houston, the Princeton University Art Museum, and Emily Fisher Landau


My work explores photography’s possibilities by exaggerating its failure to capture or mirror “the real.” I often employ re-photography (making photographs of photographs), either by having subjects reenact previous imagery or by aiming the camera at photographic prints themselves. Re-photography collapses multiple images, multiple points in time, into one, complicating what Cartier-Bresson called the “decisive moment.” My photographs’ subjects and their surroundings produce initial, straightforward meanings; details (resulting from an iterative process of taking, making, and remaking), destabilize, upset, and multiply their interpretive possibilities. Photography’s possibilities are one of my primary concerns, but particular subject matter matters. Performance (as both concept and practice), art history and artistic influence, queerness, and (an often humorous) eroticism all recur in different series. In nearly all my work, the body—as object of desire and study, as an engine of unstable, context-dependent meaning—dominates. After more than 30 years of taking photographs, I remain obsessed with what a camera can do—documenting, abstracting, transforming, and extending moments and ideas.