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Hannah Wilke's artwork, like her life, frames a heroic story about formal invention and social activism, personal loyalties and individual freedom, and, above all, breathtaking risk. A defining presence in the emerging community of women artists in the 1960's and '70's, Wilke developed a unique and controversial visual language in response to her own and women's experience. An unapologetic individualist, she celebrated her relationships with men as well as women and frankly explored the pleasures of sexuality. Using a wide range of non-traditional mediums, including latex and chewing gum as well as photography and film, she irreverently paid tribute to predecessors from Marcel Duchamp to David Smith. Focusing on the body as instrument and object of visual expression, Wilke made her art an unremitting self-exploration-without false modesty (when her naked body was an uncomplicated delight to behold) or shame (when it was mercilessly blighted by cancer). Wilke's art is inseparable from Wilke the person-bold, sometimes outrageous and, ultimately, heartbreakingly courageous.
kunst --- Verenigde Staten --- twintigste eeuw --- Wilke Hannah --- feminisme --- gender studies --- fotografie --- beeldhouwkunst --- film --- installaties --- schilderkunst --- tekenkunst --- lichamelijkheid --- performances --- videokunst --- portret --- portretfotografie --- zelfportret --- 7.071 WILKE --- Feminism and art --- Art and feminism --- Art --- Wilke, Hannah. --- Wilke, Hannah
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Wilke, Hannah --- Hatoum, Mona --- Phillips, Paulette --- Davis, Rae --- Gervais, Raymond --- Porter, John
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Art --- sculpture [visual works] --- multimedia works --- feminism --- video art --- performance art --- studio ceramics --- genitals [animal components] --- gum [material] --- Wilke, Hannah
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"Artist, Audience, Accomplice complicates traditional notions of artists' authorship by introducing the role of the accomplice. Accomplices, particularly in the art of the 1970s and 1980s, are the unseen figures essential to creation-the studio assistants, documentarians, romantic partners, and institutional staff-who act as practice audiences, witnesses, and semi-creators. Sydney Stutterheim centers her argument in four case studies devoted to Chris Burden, Hannah Wilke, Martin Kippenberger, and Lorraine O'Grady. These studies draw on archival research, original interviews, and secondary literature to demonstrate how each artist deliberately used accomplices to engage contemporary issues in their work. The use of accomplices distributes ethical responsibility among figures other than the individual artist, raising questions related to the ethics of participation and the responsibility of the artist-questions which are particularly visible in legislation and court cases of the period regarding "accomplice liability," the legal definition of the abettor, and lawsuits involving artists. Arguing that the author's authority is not sovereign, total, and exclusive, but instead fluid and relational, Stutterheim employs issues of labor and ethics to reimagine artistic agency, aesthetic property, and authorship"--
Arts and morals --- Arts and society --- Authorship --- Audiences in art --- Burden, Chris, --- Wilke, Hannah. --- Kippenberger, Martin, --- O'Grady, Lorraine.
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An in-depth look at these two American artists, who explored issues of sexuality and feminism in the 1960s and 1970s in their sculpture and photography. This exhibition and accompanying book offers the first opportunity to appreciate the resonances between the studio practices of Eva Hesse and Hannah Wilke. Both artists found themselves drawn to unconventional materials, such as latex, plastics, erasers, and laundry lint, which they used to make work that was viscerally related to the body. They shared an interest in repetition to amplify the absurdity of their work. These repeated forms–whether Hesse’s spiraling breast or Wilke’s labial fold–sought to confront the phallo-centricism of twentieth-century sculpture with a texture that might capture a more intimate, psychologically charged experience. Eleanor Nairne, the curator of the exhibition, writes the lead essay, followed by texts by Jo Applin and Anne Wagner. An extensive chronology by Amy Tobin includes primary-source materials, which bring a new history of how both artists’ work sits in relation to the wider New York scene. Also included are excerpts of both artists’ writing.
Art --- sculpture [visual works] --- installations [visual works] --- body art [visual works, performance] --- photography [process] --- Abstract [modern European style] --- eroticism --- genitals [animal components] --- Wilke, Hannah --- Hesse, Eva
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Iconography --- Art --- Sculpture --- Graphic arts --- Film --- art [discipline] --- feminism --- video art --- performance art --- nudes [representations] --- illness --- eroticism --- sculpting --- graphic arts --- lichaam (van de mens) --- Wilke, Hannah --- United States of America
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