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Wilke, Hannah

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Wilke, Hannah

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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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Art --- sculpture [visual works] --- multimedia works --- feminism --- video art --- performance art --- studio ceramics --- genitals [animal components] --- gum [material] --- Wilke, Hannah

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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