女性创作关于女性的艺术 brings together a selection of artists investigating the way in which women are represented and understood in art and Western culture. The exhibition title points to the idea that these works of art are first and foremost self-reflections. 使用真实女性形象的艺术作品, 图标的再创作, and re-creations of female stereotypes all point toward the representation of the idea of womanhood.
雷切尔·哈里森的 无标题的 (Marilyn), 2004, is a photograph of an obstructed photograph of Marilyn Monroe. 带相机的女人 (最后一次坐, 伯特斯特恩), 2009, by Anne Collier uses Bert Stern’s famous book on Monroe as its starting point, photographing the book itself marked up by an array of Post- it notes. 生前拍摄的照片, 然后在她死后由哈里森和科利尔重新拍摄, 梦露的形象被改变并重新定位. 科利尔选了一张门罗在相机后面的照片, placing Monroe not only in the role of the subject of the artwork, 但同时也是形象制造者, toying with notions of artistic power and the photographic gaze.
在凯伦·基利姆尼克家 我在《买足彩app平台》中饰演伊莎贝尔·阿贾尼, 1994, the artist alters a photograph of herself to make it look as if she is the iconic actress. 在这种情况下, there is an even deeper internalization of celebrity-driven culture on the individual, 加上粉丝们的真诚热情. As is typical in Kilimnik’s work there is a merge between the self and the celebrity or fictional characters she represents, suggesting that the boundaries between the individual and the culture are blurred. Kilimnik的绘画 我知道你是什么样的人, 1994, constructs images from several fashion magazines of the early 1990s. 这部作品的标题, 也是从杂志上抄来的, ambiguously treads on the identity crises that fashion magazines introduce and uphold in the lives of their mostly young, 女性观众.
Re-creations of female stereotypes embody notions of self-refection as well as considerations on gender and generalizations. 辛迪·谢尔曼的黑白照片 秘书, 1978, is an impeccable styling of the artist in the role of a 1950s secretary. Sherman is able to show us how culture sees women while making her own statement about these views.
无标题的, 2003, 是谢尔曼的一张彩色照片,描绘了一个古铜色的, middle-aged woman attempting to make herself beautiful with excessive make-up and self-tanning. 女性被揭示为一种自残, misunderstood victim of conformity to contemporary culture’s ideas of beauty.
The final approach in this exhibition stems from religion and embodies the most complex relationship. 瑞秋·哈里森的 无标题的 (珀斯安博系列), 2001, the artist photographed the window of an ordinary looking house in New Jersey, where it was believed that the face of the Virgin Mary had appeared. The pictures focus on the accumulated fingerprints left by the faithful as they touched the pane of glass. This representation of an idea of a woman, as opposed to an actual woman, is a sympathetic critique. How can anyone live up to the vision of a figure who sits next to God? The impossibility of living up to false images is a misuse of our creativity and ingenuity.
本次展览的作品, 女性创作关于女性的艺术,这促使我进行了自我反思. 在名人的范围内, 文化偶像, 圣徒与神, 当然,女性的新表现还有空间.
安科利尔 (b. 1970)
引用电影, 音乐和名人文化, Anne Collier’s photographs investigate the forms of 摄影 encountered on a daily basis in our media- driven world. She works with existing photographic images, including posters, books, and record sleeves. 这些完美无瑕的特写照片散发出一种超然, 近乎临床的姿态, 类似于商业摄影, yet they still evoke an emotional and psychological response in the viewer. 虽然从来没有明确的自传, Collier transmits notions of identity through her chosen subjects. Collier delicately negotiates the realm between the personal and the universal, 把广为人知的形象变成自己的. She is represented by Anton Kern Gallery in 纽约 and Corvi Mora in London. Her work has been exhibited at Nottingham Contemporary, UK and the Salina Art Center, Kansas.
雷切尔·哈里森 (b. 1966)
作为雕塑家, 画家, 摄影师, 视频制造商, 装置艺术家, 瑞秋·哈里森的作品借鉴了各种各样的风格, 材料, 和影响. 她的作品既异想天开又深思熟虑, 具象与抽象相结合, 日常和意想不到的, 流行文化和历史参考. 哈里森的艺术鼓励观众积极观看, 参与, and bring their own interpretation and understanding to the pieces. There is a sense of freedom and openness that characterizes her work. 纽约格林纳夫塔利画廊代理, 她的作品也曾在威尼斯双年展上展出, 旧金山现代艺术博物馆, 和卡内基国际基金会, 匹兹堡, PA.
凯伦Kilimnik (b. 1955)
凯伦Kilimnik emerged in the contemporary art world in the late 1980s and early 1990s. 她的“分散艺术”装置作品首次获得认可, 她在各种各样的媒体工作, 包括图纸, 绘画, 摄影, 雕塑和录像. Her work explores the realm of female psychology and identity with both wit and self-reflection. 参考好莱坞和时尚的图标, Kilimnik大胆的, gestural works embody the thrill and superficial allure of celebrity culture that permeates contemporary society. She captures the desire and intrigue surrounding this glamorous world, while keenly questioning its effect upon one’s own sense of self. 基利姆尼克的代理是纽约303画廊, and her work has been exhibited at The Institute of Contemporary Art in Philadelphia and the Museum of Contemporary Art in Chicago.
Cindy Sherman (b. 1954)
在过去的35年里, Cindy Sherman has developed a remarkable and compelling body of work and established a reputation as one of the most respected 摄影师s of her time. 借助化妆, 精心制作的道具和服装, 谢尔曼为自己拍摄了无数的伪装和角色, 既出名又典型. Sherman assumes the lives of invented female characters – heroines, 好莱坞明星, 工人阶级的女性——如此自然和完全, that the viewer encounters a sense of familiarity and instant recognition. 作为摄影师和模特, 艺术家与伪装的主体, Sherman challenges stereotyped representations of women through a playful blend of idealization, 幽默, 和休克. 代表单位:地铁影业, 纽约, Sherman’s work has been exhibited at the Museum of Modern Art and the Metropolitan Museum of Art, 还有威尼斯双年展和惠特尼双年展.