Barbara Ess, an artist and musician best identified for plumbing the limits of notion with a pinhole camera, died on Thursday at her residence in Elizaville, N.Y. She was 76.

The bring about was cancer, in accordance to Bard College, in which she was an affiliate professor of pictures.

In a various vocation rooted in the downtown Manhattan artwork scene of the 1970s and ’80s, Ms. Ess sang and performed guitar and bass in Y Pants, the Static and other “No Wave” bands — hard-charging rejoinders to the perceived commercialism of punk — and revealed an influential blended-media zine.

But it was in 1983 that she discovered her muse when she occurred on an posting about pinhole cameras in The New York Periods. Admitting light instantly by a little aperture with no aim mechanism, a pinhole digital camera was simple for Ms. Ess to build at household. Without having the distortion of a lens, its photos ended up unusually straight and even, but mainly because they essential extended publicity occasions, they also tended to be blurry.

It was the fantastic equipment to seize the fundamental fuzziness of what Ms. Ess known as, in a 1991 interview with The Los Angeles Occasions, “the basic troubles of human everyday living on earth — sexual intercourse, demise, interactions, getting who you are, getting damage and baffled.”

“I’m attracted to pinhole pictures,” she additional, “because my intellect operates far better when my implies are narrowed.”

Her 2001 reserve “I Am Not This System,” a assortment of her substantial-scale pinhole photographs built over two decades, ranges greatly in information, from a shot of little ones building sand castles to a female with a shaved head hunched thoughtfully over a 50 %-eaten meal. There is Ms. Ess herself with a mirror, drawing a self-portrait, and there is the almost abstract, reddish-orange glow of a picket fence at twilight. But oversaturated gentle and tender edges give them all a dependable tone. Like sensations that haven’t been digested yet, they’re at when ambiguous and indisputable.

Essays in the guide give a perception of Ms. Ess’s rarefied posture in the house where philosophical inquiry satisfies the cool-kid avant-garde. 1, by Thurston Moore of the band Sonic Youth, remembers Ms. Ess’s enthusiastic existence in the viewers when his band auditioned at CBGB’s. A different, by the Buddhist teacher Man Armstrong, argues that we all inhabit different realities simply because we all perceive truth in a different way.

As Ms. Ess herself put it: “I really don’t get photos of the environment to depict the entire world. For me the entire world is by now a representation of something that can not be photographed.”

Barbara Eileen Schwartz was born in Brooklyn on April 4, 1944. She was the eldest of 3 daughters of Philip George Schwartz, the owner of a small trucking company, and Sally Schwartz, an office supervisor and bookkeeper. Her father played piano and guitar. He had also labored as a business designer in advance of Earth War II, and there have been normally artwork publications about the house.

Just after a childhood that she remembered as happy — irrespective of the often fraught photographs of domestic existence that appeared in her do the job — she attended substantial school in Peekskill, N.Y. She went on to graduate from the University of Michigan in Ann Arbor with a degree in literature and philosophy.

She studied briefly at the London College of Film System (now London Movie School) but dropped out simply because, as she recalled in The Los Angeles Moments, “I acquired to film school and they were instructing us how to be gaffers.”

“I thought, ‘To hell with this — I want to make a film!’”

According to her gallery, Magenta Plains in Manhattan, she adopted the identify Ess — as in “S,” for Schwartz — just after staying mistaken for another artist named Barbara Schwartz, an abstract painter from Philadelphia.

In 1978, she satisfied the musician Glenn Branca when auditioning, unsuccessfully, for his No Wave band Theoretical Girls. The two lived collectively and collaborated, musically and artistically as properly as individually, for more than 20 yrs.

Next a effectively-obtained 1985 clearly show of pinhole photos at Cable Gallery in New York, Ms. Ess showed commonly close to the environment, mounting several a lot more New York solo displays with Curt Marcus Gallery and showing on the covers of Artwork in The us and Artforum.

In 2017, a rippling sheet of guide that she had imprinted with the phrase “the experience tone of sensation” was incorporated in a team exhibit at Magenta Plains, and in 2019, her first solo clearly show with the gallery incorporated photographs appropriated from surveillance cameras on the Texas-Mexico border. She experienced attained obtain to the cameras by signing up as a deputy sheriff.

Ms. Ess joined the photography section at Bard College in 1997. There she motivated a little but critical section of the young art planet, which include the Decrease East Facet gallerist James Fuentes.

“In a critique or meeting about my thesis,” Mr. Fuentes recalled, “she would conjure a Sonic Youth music and begin singing it.”

Ms. Ess is survived by her sisters, Janet Schwartz and Ellen Schwartz.

She continued to release new music, participating in in the three-girl band Extremely Vulva and participating in a venture known as “Radio Guitar” with her mate the online video artist Peggy Ahwesh. Ms. Ahwesh remembered in an job interview what she called the “slippery relationship” for Ms. Ess involving the “acts of every day daily life and doing the job with art elements.”

“One time we had been participating in,” Ms. Ahwesh additional, “and she went out to do something. I located this amazing riff with the radio. And she form of wanders again in, and I wrote on a piece of paper, ‘Just engage in everything.’ She played the most stunning, miraculous guitar.”

In other terms, Ms. Ahwesh proposed, building artwork was a way of currently being in the world for Ms. Ess, not just a way of creating objects. But the paradoxical impact was that possibilities for artwork operates had been all around her. Towards the stop of her everyday living, in the clinic, she grew to become incredibly fired up about a brain scan she hoped to title and exhibit.

The paradox was not only about art, while. It was integral to the way she skilled herself.

“I am not this body,” she wrote in 2001. “But I am. Aching and comprehensive of longing. Choose a photo of this meat, this husk. You don’t have me. I am a thing that cannot be photographed, cannot be named, outlined, translated. There’s experience and which is all there is.”