DOCSLIB.ORG

SYLVIA SLEIGH Un Œil Viscéral / a Visceral Eye

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SYLVIA SLEIGH Un Œil Viscéral / a Visceral Eye SYLVIA SLEIGH Un œil visCÉRAL / A Visceral Eye Exposition – néo monographiquE / DOSSIER DE PRESSE / neo monograph – EXHIBITION PRESS KIT Commissaire de l’exposition / Curator of the exhibition: Alexis Vaillant, responsable de la programmation au CAPC / Chief Curator at the CAPC Galerie Ferrère, 2e étage / Ferrère Gallery, 2nd Floor CAPC musée d’art contemporain DE BORDEAUX 16.05.2013 – 01.09.2013 COMMUNIQUÉ DE PRESSE / PRESSE RELEASE SYLVIA SLEIGH SYLVIA SLEIGH Un œil viscéral A Visceral Eye Un œil viscéral est la rétrospective la plus complète jamais réalisée A Visceral Eye is the most comprehensive retrospective to date de Sylvia Sleigh (1916-2010), peintre réaliste née au Pays de of Welsh-born realist painter Sylvia Sleigh (1916–2010) who Galles, qui remporta un succès critique dans les années 1960 et gained critical success in the 1960s and ’70s as an important 70, figure reconnue comme étant à l’initiative de la scène artistique instigator of New York’s feminist art scene. Known for her explicit féministe new-yorkaise. Célèbre pour ses nus masculins explicites male nudes that quote and subvert the art historical tradition of qui citent et subvertissent la tradition historique du regard masculin male gaze onto female body, Sleigh’s portraits feature artists, posé sur le corps féminin, les portraits de Sleigh représentent des musicians and writers of both genders, dressed and naked, artistes, musiciens et auteurs des deux genres, habillés et nus, representing a pantheon of significant cultural figures. Exploring constituant un panthéon de figures culturelles emblématiques. contemporary portraiture as an intimate dialogue between artist Explorant le portrait contemporain comme un dialogue intime and sitter, Sleigh’s practice elevated her subjects, aiming to remove entre l’artiste et le modèle, la pratique de Sleigh déplace le sujet objectification from art. In these portraits, she combined bold ambitionnant de faire disparaître l’objectivation dans l’art. Dans sensuality with a personal feminism that placed her at the heart of ces portraits, elle combine une sensualité sans équivoque et un a discourse on power, representation, and gender. féminisme très personnel qui la placent au cœur d’un discours sur le pouvoir, la représentation et le genre. A Visceral Eye is the fourth step of Sylvia Sleigh’s exhibition. The CAPC shows a large selection of her works made by Giovanni Un œil viscéral est la quatrième étape, en Europe, de l’exposition Carmine, Mats Stjernstedt and Alexis Vaillant, curated by Alexis Sylvia Sleigh. Conçue par Alexis Vaillant au CAPC, l’exposition Vaillant at the CAPC, asking the question of the academicism of the présente une large sélection d’œuvres faite par Giovanni representation regarding the radicalism of the speech of the artist. Carmine, Mats Stjernstedt et Alexis Vaillant posant la question The exhibition is a joint production by the Kunstnernes Hus, Oslo, de l’académisme de la représentation au regard du radicalisme du the Kunsthalle Sankt Gallen, the Tate Liverpool, the CAPC musée discours de l’artiste. d’art contemporain in Bordeaux and the Centro Andaluz de Arte L’exposition est une coproduction du Kunstnernes Hus, Oslo, de Contemporáneo in Seville. la Kunsthalle Sankt Gallen, de la Tate Liverpool, du CAPC musée d’art contemporain de Bordeaux et du Centro Andaluz de Arte Contemporáneo, Séville. 2 A PROPOS DE SYLVIA SLEIGH / ABOUT SYLVIA SLEIGH SYLVIA SLEIGH SYLVIA SLEIGH Sylvia Sleigh est née au Pays de Galles en 1916. Après des études à Sylvia Sleigh was born in Wales in 1916. After studying at Brighton l’école d’art de Brighton, elle fait sa première exposition en 1953 à art school, she had her first exhibition in 1953 at the Kensington Art la Kensington Art Gallery. Gallery. Elle s’installe à New York aux États-Unis en 1961, avec son mari, In 1961, with her husband Lawrence Alloway[1], who had just been Lawrence Alloway1, qui vient d’être nommé conservateur du musée appointed curator at the Solomon R. Guggenheim museum, she Solomon R. Guggenheim. Elle y passera le reste de sa vie. settled in the United States, in New York, where she spent the rest of her life. C’est à New York que Sylvia Sleigh devient une artiste de premier plan. Témoin de son époque, elle peint des portraits d’hommes et de It was in New York that Sylvia Sleigh became a noted artist. As femmes, des corps nus et habillés, en pied, en plan rapproché, seuls a witness to her day and age, she painted portraits of men and ou en groupe, dans un style unique méticuleux, aussi fascinant que women, naked and clothed, standing, close-up, alone or in groups, récalcitrant. in a unique and painstaking style, as fascinating as it is defiant. Avec l’émergence de la deuxième vague du féminisme aux With the emergence of the second wave of feminism in the United Etats-Unis dans les années 60, Sylvia Sleigh devient une States in the 1960s, Sylvia Sleigh became an important figure in personnalité importante de la scène culturelle new-yorkaise. the New York cultural scene. She worked to have women artists Elle œuvre à la reconnaissance des femmes artistes et soutient recognized, and supported self-managed galleries and venues such des galeries et des lieux autogérés tels que A.I.R, première galerie as A.I.R., the first cooperative female gallery, and SOHO20 Gallery. coopérative féministe ou SOHO20 Gallery. Sylvia Sleigh’s work is always being shown somewhere. Le travail de Sylvia Sleigh n’a jamais cessé d’être montré. En lien Connected with feminism and the figurative realism of the 1970s, avec le féminisme et le réalisme figuratif des années 70 en together with Alice Neels, Philip Pearlstein or Larry Rivers, it has compagnie d’Alice Neels, Philip Pearlstein ou Larry Rivers, also featured in major shows like WACK! Art and the feminist il appartient aussi à de grandes expositions telles que WACK! L’art movement, held at the MOCA in Los Angeles, and the MoMA in et le mouvement féministe, exposition du MOCA, Los Angeles, New York, in 2007 et au MoMA, New York en 2007. Sylvia Sleigh died in 2010 at the age of 94. Sylvia Sleigh disparaît 2010 à 94 ans. 1. Lawrence Alloway (1926-1989): Art critic who popularized the term Pop Art in the mid 50’s and defended artists like Roy Lichtenstein, Andy Warhol and Claes Oldenburg - through the exhibition Six Painters and the Object (1963) among others. 1. Lawrence Alloway (1926-1989) : Critique d’art qui popularise le terme de Pop Art au milieu des années 50 et défend des artistes comme Roy Lichtenstein, Claes Oldenburg et Andy Warhol - à travers l'exposition Six Painters and the Object (1963) notamment. 3 BIOGRAPHIE Née en 1916, Llandudno, Pays de Galles EXPOSITIONS PERSONNELLES 2004 Morte en 2010, New York, USA 2013 Sylvia Sleigh: New Work and Portraits of Sylvia Sleigh : Centro Andaluz de Arte Critics, SOHO20 Chelsea, New York, NY Contemporáneo, Séville. EDUCATION 2001 Brighton School of Art, Brighton, Sussex, 2013 “An Unnerving Romanticism:” The Art Angleterre Sylvia Sleigh, Un œil viscéral : CAPC musée of Sylvia Sleigh and Lawrence Alloway, d’art contemporain, Bordeaux, France Philadelphia Art Alliance, Philadelphie, PA PRIX ET DISTINCTIONS 2013 1999 Prix pour l’ensemble de sa carrière, Sylvia Sleigh : Tate Liverpool, Liverpool, Sylvia Sleigh: Invitation to a Voyage, Deven Women’s Caucus for Art, 2011 Angleterre Golden Fine Art, New York, NY Prix pour l’ensemble de sa carrière, College Art Association, 2008 2012 1995 Prix de la fondation Pollock-Krasner, 1985 Sylvia Sleigh : Kunst Halle Sankt Gallen, Invitation to a Voyage and Other Works, National Endowment for the Arts, Visual Suisse Sonia Zaks Gallery, Chicago, IL Artists Fellowship, 1982 2012 1994 Sylvia Sleigh : Kunstnernes Hus, Oslo, COLLECTIONS PUBLIQUES Sylvia Sleigh: New Paintings, Stiebel Norvège National Portrait Gallery, Londres Modern, New York, NY The Art Institute of Chicago, Chicago, IL 2011 1992 Akron Art Museum, Akron, OH Sylvia Sleigh: Invitation to a Voyage: The Sylvia Sleigh: Paintings from the 1970s, Everson Museum of Art, Syracuse, NY Hudson River at Fishkill, 1979-99, The Stiebel Modern, New York, NY The Hudson River Museum, Yonkers, NY Hudson River Museum, Yonkers, NY Mills College, Oakland, CA 1990 Milwaukee Art Museum, Milwaukee, WI 2010 Sylvia Sleigh: Invitation to a Voyage and National Museum of Women in the Arts, Sylvia Sleigh: Working at Home, Freymond- Other Works, Milwaukee Art Museum, Washington, DC Guth & Co. Fine Arts, Zurich, Suisse Milwaukee, WI; Ball State University Art Portland Art Museum, Portland, OR 2009 Gallery, Muncie, IN; Butler Institute of Rowan University Art Gallery, Glassboro, NJ Sylvia Sleigh, I-20 Gallery, New York, NY American Art, Youngstown, OH The David and Alfred Smart Museum, University of Chicago, Chicago, IL 2007 1985 University of Missouri-St. Louis, St. Louis, Sylvia Sleigh, I-20 Gallery, New York, NY Sylvia Sleigh: Drawings, SOHO20 Gallery, MO New York, NY 2006 Virginia Museum of Fine Arts, Richmond, VA Invitation to a Voyage: The Hudson River at Sylvia Sleigh: Invitation to a Voyage, Housatonic Museum of Art, Bridgeport, CT Fishkill, G.W. Einstein Company, Inc., The Hudson River Museum, Yonkers, NY Weatherspoon Art Museum, University of New York, NY Sylvia Sleigh: Nudes and Portraits, Zaks North Carolina, Greensboro, NC 2005 Gallery, Chicago, IL Sylvia Sleigh: Portraits and Group Portraits, Newhouse Center for Contemporary Art, 1983 Snug Harbor Cultural Center, Staten Island, Sylvia Sleigh Paints Lawrence Alloway, NY G.W. Einstein Company, Inc., New York, NY 4 1982 1976 1968 Sylvia Sleigh: Portraits at the New School, Sylvia Sleigh, Hopkins Hall, The Ohio State Sylvia Sleigh, Hemingway Galleries, The New School Associates, New York, NY University, Columbus, OH New York, NY Sylvia Sleigh, Kirkland Art Center, Clinton, 1981 NY; Cortland College, State University of 1965 Sylvia Sleigh, Gallery 210, University of New York, Cortland, NY Sylvia Sleigh, Byron Gallery, New York, NY Missouri, St.
Load more

Recommended publications
  • Double Vision: Woman As Image and Imagemaker
    double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond.
    [Show full text]
  • SYLVIA SLEIGH Born 1916, Wales Deceased 2010, New York City
    SYLVIA SLEIGH Born 1916, Wales Deceased 2010, New York City Education Depuis 1788 Brighton School of Art, Sussex, England Freymond-Guth Fine Arts Riehenstrasse 90 B CH 4058 Basel T +41 (0)61 501 9020 offi[email protected] www.freymondguth.com Selected Exhibitions & Projects („s“ = Solo Exhibition) 2017 Whitney Museum for American Art, New York, USA Mostyn, Llundadno, Wales, UK (s) Reflections on the surface, Freymond-Guth Fine Arts, Basel, CH 2016 MUMOK Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, AUT Museum Brandhorst, Munich, DE 2015 The Crystal Palace, Sylvia Sleigh I Yorgos Sapountzis, Freymond-Guth Fine Arts, Zurich, CH Sadie Coles HQ, London, UK 2014 Shit and Die, Palazzo Cavour, cur. Maurizio Cattelan, Turin, IT Praxis, Wayne State University‘s Elaine L. Jacob Gallery, Detroit, USA Frieze New York, with Freymond-Guth Fine Arts, New York, NY Le salon particulier, Freymond-Guth Fine Arts, Zurich, CH (s) 2013 / 14 Sylvia Sleigh, CAPC Musée d‘Art Contemporain de Bordeaux Bordeaux, FR (s) Tate Liverpool, UK, (s) CAC Centro Andaluz de Arte Contemporanea Sevilla, ES (s) 2013 The Weak Sex / Das schwache Geschlecht, Kunstmuseum Bern, Bern, CH 2012 Sylvia Sleigh, cur. Mats Stjernstedt, Giovanni Carmine, Alexis Vaillant in collaboration w Francesco Manacorda and Katya Garcia-Anton, Kunstnernes Hus Oslo, NOR (s) Kunst Halle St. Gallen, CH (s) Physical! Physical!, Freymond-Guth Fine Arts, Zurich, CH 2011 Art 42 Basel: Art Feature (with Freymond-Guth Fine Arts, Zurich), Basel CH (s) The Secret Garden, Freymond-Guth Fine Arts, Zurich, CH Anyone can do anything? genius without talents, cur. Ann Demeester, De Appel, Amsterdam, NL 2010 Working at home, Freymond-Guth Fine Arts, Zurich, CH (s) The Comfort of Strangers, curated by Cecila Alemani, PS1 Contemporary Art Cen ter, New York, NY 2009 I-20 Gallery, New York, NY (s) Wiser Than God, curated by Adrian Dannatt, BLT Gallery, New York, NY The Three Fs: form, fashion, fate, curated by Megan Sullivan, Freymond-Guth Fine Arts, Zurich, CH Ingres and the Moderns, Musée national des Beaux-Arts, Quebec.
    [Show full text]
  • HISTORY 2018 Annual #3
    HISTORY 2018 annual #3 1 LUCIEN FREUD SYLVIA SLEIGH ALAIR GOMES KEITH HARING LIVING MODEL THE CONDOM’S HISTORY PHALLUS’ CULTS Summary FALO© is a bi-monthly publication. PRESENTATION 4 january 2019. In public domain Editorial As usual the session moNUment brings two editing, writing and design: Filipe Chagas models. This time I invite you not only to editorial group: Dr. Alcemar Maia Souto, André 10 Guimarães and Guilherme Correa. ere is the third and final look at bodies but also the composition of Lucien Freud part of the annual english the spread. Look that the photos are almost the opposite: head up and head down, tall cover: Photo from Beach tripych nº 7 by Alair Gomes. version of Falo Magazine: Ipanema, Rio de Janeiro, 198-. Collection from FALO HISTORY! Woohoo! and short, BW and colors, hairy and smooth, Fundação Biblioteca Nacional - Brasil. 22 more posed and more regular. The idea is to Sylvia Sleigh show everybody the diversity of shapes and The idea of the magazine since its beginning H images a male body can express through Art. Care and technique were used in the edition of this was not only show contemporary artists magazine. Even so, typographical errors or conceptual that work with the male nude but also show And the model with colors is Allan Lucena, 32 doubt may occur. In any case, we request the communi- through exemples from the past that this Alair Gomes cation ([email protected]) so that we can verify, clari- one of the collaborators of the magazine. In fy or forward the question.
    [Show full text]
  • Download Issue (PDF)
    Vol. 2 No. 2 wfimaqartr f l / l I l U X l U l I Winter 1977-78 ‘ARTISTS IN RESIDENCE': The First Five Years Five years ago, the A.I.R. feminist co-op gallery opened its doors, determined to make its own, individual mark on the art world. The first co-op organized out of the women artists' movement, it continues to set high standards of service and commitment to women's art by Corinne Robins page 4 EXORCISM, PROTEST, REBIRTH: Modes ot Feminist Expression in France Part I: French Women Artists Today by Gloria Feman Orenstein.............................................................page 8 SERAPHINE DE SENLIS With no formal art training, she embarked on a new vocation as visionary painter. Labelled mentally ill in her own time, she is finally receiving recognition in France for her awakening of 'female creativity' by Charlotte Calmis ..................................................................... p a g e 12 A.I.R.'S FIFTH ANNIVERSARY 1 ^ ^ INTERVIEW WITH JOAN SEMMEL W omanart interviews the controversial contemporary artist and author, curator of the recent "Contemporary Women: Consciousness and Content" at the Brooklyn Museum by Ellen L u b e ll.................................................................................page 14 TOWARD A NEW HUMANISM: Conversations with Women Artists Interviews with a cross-section of artists reveal their opinions on current questions and problems, and how these indicate movement toward a continuum of human values by Katherine Hoffman ................................................................... pa g e 22 GALLERY REVIEWS ..........................................................................page 30 WOMAN* ART»WORLD News items of interest ................................................................... page 42 FRENCH WOMEN ARTISTS REPORTS Lectures and panel discussions accompany "Women Artists: 1550-1950" and "Contemporary Women" at the Brooklyn Museum; Women Artists in H o lla n d ...............................................................page 43 Cover: A.I.R.
    [Show full text]
  • Sylvia Sleigh Biografia
    Sylvia Sleigh. Biography Born in the Victorian sea-side resort of Llandudno, Wales in 1916, Sylvia Sleigh grew up in England during the grim years of the two world wars and the ensuing rationing of food, clothes and culture. She studied in the Brighton School of Art in Sussex, England, between 1934 and 1937. Here she remembers being outraged by the double standards that allowed female nudes but not male ones in the life drawing classes. In 1941 she married Michael Greenwood, a local painter and art history lecturer, and friend of British Pop artist Richard Hamilton. They moved to London, and remained together for thirteen years. However, during this time they often lived apart – Sleigh in the village of Pett, Sussex, and Greenwood in London. Her relationship with Greenwood and the proximity to the art world encouraged Sleigh to pursue painting professionally; yet it was her husband’s active undermining of her confidence as a painter, which brought it to an abrupt end. Sleigh stopped painting and became a seamstress and dressmaker, eventually opening her own shop in Brighton. Her love of fashion, textiles and patterning remained thereon - indeed, she kept many of the dresses made during her entire life-time. It was only when the relationship with her husband became estranged that Sleigh re- initiated her artistic practice, attending art history night-classes at the University of London. It was here, in 1944, when Sleigh was twenty-seven, that she met critic Lawrence Alloway, seventeen at the time. This encounter marked the beginning of an intense relationship, both intellectual and emotional.
    [Show full text]
  • Helène Aylon CV
    H E L È N E A Y L O N Born 1931 in Brooklyn, NY; Died 2020 in New York, NY. EDUCATION 1980 Antioch College West, MA Equiv, Women's Studies/Performance Art 1974 San Francisco State University, MFA 1960 Brooklyn College, Art, BA Cum Laude, BA Cum Laude New School for Social Research, New York, NY Art Students’ League, New York, NY SELECTED SOLO EXHIBITIONS 2020 Marc Selwyn Fine Art, Beverly Hills, CA 2019 Elusive Silver: 1969–73, Leslie Tonkonow Artworks + Projects, New York, NY 2017 Afterword: For the Children, The Jerusalem Biennale, Hamachtarot Museum, Jerusalem, Israel Afterword: For the Children, Kniznick Gallery, Hadassah-Brandeis Institute, Brandeis University, Waltham, MA 2011 The Word of God: Helene Aylon: The Liberation of G-d and the Unmentionable, The Andy Warhol Museum, Pittsburgh, PA 2007 The Gallery at the Gershman Y, Philadelphia, PA 2001 My Marriage Bed, Ann Loeb Bronfman Gallery, Washington, D.C. 1995 Bridge of Knots, UC Berkeley Art Museum, Berkeley, CA 1989 Cleveland Center for Contemporary Art, Cleveland, OH 1979 Formations, Betty Parsons Gallery, New York, NY Formations Breaking, 112 Workshop, New York, NY 1978 Formations, Grapestake Gallery, San Francisco, CA 1976 Hayden Gallery, Massachusetts Institute of Technology, Cambridge, MA Paintings That Change in Time, Grapestake Gallery, San Francisco, CA 1975 Paintings That Change in Time, Betty Parsons Gallery, New York and Susan Caldwell Gallery, New York, NY 1973 Tower Gallery, Southampton, New York, NY 1972 Max Hutchinson Gallery, New York, NY 1970 Max Hutchinson Gallery, New York, NY SELECTED GROUP EXHIBITIONS 2020 Did I Ever Have a Chance?, Marc Selwyn Fine Art, Beverly Hills, CA In the ever changing world in which we live…, The Storefront, Bellport, New York, NY Ecofeminism(s), Thomas Erben Gallery, New York, NY The Female Side of God, Jewish Museum Frankfurt, Germany 2019 What is Feminist Art? Archives of American Art, Fleischman Gallery, The Donald W.
    [Show full text]
  • Individual Exhibitions
    DIANE BURKO S O L O E X H I B I T I O N S 2021 – UPCOMING: DIANE BURKO: SEEING CLIMATE CHANGE, the American University Museum, Washington D.C. 2019 Nordic Changes, American Swedish Historical Museum, Philadelphia, PA ENDANGERED, Cindy Lisica Gallery, Houston, TX 2018 Repairing the Earth (Tikkun Olam): Diane Burko, Artist and Environmental Activist, Rodeph Shalom, Philadelphia, PA Endangered: from Glaciers to Reefs, National Academy of Sciences, Washington, D.C Diane Burko: Vast and Vanishing, Rowan University Art Gallery, Glassboro, NJ 2017 Glacial Shifts, Changing Perspectives, Paintings and Photographs by Diane Burko, Walton Art Center, Fayetteville, AR 2016 Traces of Change, Cindy Lisica Gallery, Houston, TX Glacial Dimensions: Art and the Global Ice Melt, Diane Burko and Paula Winokur, Burger Gallery, Kean University, Union, NJ 2014 Diane Burko Photographs: Investigating the Environment, LewAllen Galleries, Santa Fe, NM 2013 Diane Burko: Glacial Perspectives, Zimmerli Art Museum, Rutgers University, New Brunswick, NJ 2012 Diane Burko: Water Matters, LewAllen Gallery, Santa Fe, NM 2011 Diane Burko: Photo Show, Locks Gallery, Philadelphia, PA Politics of Snow II, Woodrow Wilson School, Bernstein Gallery, Princeton University, Princeton 2010 Politics of Snow, Locks Gallery, Philadelphia, PA 2007 Alumni Invitational II: Diane Burko, Linda Karshon, Joshua Marks, Bing Wright, Tang Museum, Skidmore College Saratoga Springs, NY Diane Burko: Closer to Home, Philadelphia International Airport, Philadelphia, PA 2006 Flow, Tufts University Art
    [Show full text]
  • A Matrixial Gaze: Portrayals of the Male Nude by Female Artists
    A matrixial gaze: portrayals of the male nude by female artists. by Annie Geard The School of Creative Arts Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy University of Tasmania May 2018 i | Page Annie Geard T h e s i s v3.2 May 2018 The Matrixial Gaze: portrayals of the male nude by female artists Signed statement of originality “This thesis contains no material, which has been accepted, for a degree or diploma by the University or any other institution. To the best of my knowledge and belief, it incorporates no material previously published or written by another person except where due acknowledgment is made in the text.” Annie Geard Statement of authority to access This thesis may be made available for loan and limited copying and communication in accordance with the Copyright Act 1968. Annie Geard Acknowledgements Thank you all who have supported and encouraged me in this research; both of my supervisors, Dr. Llewellyn Negrin and Ms. Anne McDonald and respectful appreciation to Dr. Megan Keating for her graceful calmness throughout. Special thanks to Dr. Dallas Hanson and Dr. Neil Holmstrom. Thanks for all the serendipitous and sometimes surprising conversations between strangers, friends, colleagues many of which filled me with delight and amusement when they talked about the body. Love to Rob and Zoë. ii | Page Annie Geard Thesis v3.2 May 2018 The Matrixial Gaze: portrayals of the male nude by female artists ABSTRACT A matrixial gaze: portrayals of the male nude by female artists. Traditionally although there are any number of nude men and women produced by male artists and many female nudes created by women there have been relatively few women artists working in the field of male nude.
    [Show full text]
  • MARTHA NILSSON EDELHEIT Selected Vitae
    MARTHA NILSSON EDELHEIT Selected Vitae Born in New York, NY, USA Lives and works in Sweden (since 1993) Selected Solo Exhibitions 2014 Artifact Gallery, New York, NY 2009 Piteå Konsthall, Piteå, Sweden 2008 SOHO20 Chelsea Gallery, New York, NY 2007 Villa Landes, Kimito, Finland SARKA Museum, Loimaa, Finland Galleria BE’19, Helsinki, Finland 2004 Galleria BE’19, Helsinki, Finland Galleri Cupido, Stockholm, Sweden 2003 Konstpaus, Ekerö, Sweden 2002 Galleri Strömbom, Uppsala, Sweden 2001 Wetterling Gallery, Stockholm, Sweden 2000 Medborgarhuset, Smedstorp, Sweden 1999 Galleria BE’19, Helsinki, Finland Galleri Hovet, Gamla Ishovet, Stockholm, Sweden 1998 Wetterling Gallery, Stockholm, Sweden 1996 Galleria BE’19, Helsinki, Finland 1992 Galleria BE’19, Helsinki, Finland 1991 SOHO20 Gallery, New York, NY Galleria BE’19, Helsinki, Finland 1988 SOHO20 Gallery, New York, NY 1987 Atelier 2000, Vienna, Austria Galerie Carinthia, Klagenfurt, Austria 1986 SOHO20 Gallery, New York, NY 1984 Women’s Interart Center, New York, NY A.I.R. Gallery, New York, NY 1982 Rutgers University, Douglass Library, NJ 1975 Wilson College, Chambersburg, PA 1974 Evanston Art Center, Evanston, IL 1973 Artists Space, New York, NY 1966 Byron Gallery, New York, NY 1964 OK Harris, Provincetown, MA 1961 Judson Gallery, New York, NY 1960 Reuben Gallery, New York, NY 1 MARTHA NILSSON EDELHEIT Selected Vitae Selected Group Exhibitions 2017 Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965, Grey Gallery, New York University, New York, NY 2017 Annual Group Exhibition,
    [Show full text]
  • SYLVIA SLEIGH 330 West 20Th Street New York, NY 10011 212-691-5558
    Updated Wednesday, March 07, 2007 SYLVIA SLEIGH 330 West 20th Street New York, NY 10011 212-691-5558 www.sylviasleigh.com Born in Llandudno, Wales Lives and works in New York SELECTED ONE PERSON EXHIBITIONS 2006 Sylvia Sleigh: Invitation to a Voyage; The Hudson River Museum 511 Warburton Avenue, Yonkers, NY 10701 www.hrm.org 2005 Sylvia Sleigh: Portraits and Group Portraits; Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, Staten Island, NY 2004 Sylvia Sleigh: New Work & Portraits of Critics; SOHO 20 Chelsea, New York, NY 2001 An Unnerving Romanticism: The Art of Sylvia Sleigh and Lawrence Alloway The Philadelphia Art Alliance, Philadelphia, PA 1999 Invitation to a Voyage and Other Works Deven Golden Fine Arts, New York, NY Parallel Visions: Portraits of Women Artists and Writers Soho20, New York, NY 1995 Invitation to a Voyage and Other Works Zaks Gallery, Chicago, IL 1994 Sylvia Sleigh: New Paintings Stiebel Modern, New York, NY 1992 Paintings from the 1970's Stiebel Modern, New York, NY 1990 Sylvia Sleigh: Invitation to a Voyage and Other Works Milwaukee Art Museum, Milwaukee, WI; traveled to Ball State University Art Gallery, Muncie, IN; Butler Institute of American Art, Youngstown, OH 1985 Invitation to a Voyage: The Hudson River at Fishkill G.W. Einstein Co., Inc., New York, NY Nudes and Portraits Zaks Gallery, Chicago, IL Drawings SoHo 20 Gallery, New York, NY 1983 Sylvia Sleigh Paints Lawrence Alloway G.W. Einstein Co., Inc., New York, NY 1982 Portraits at the New School Associates Gallery, New School of Social Research, New York, NY 1981 Gallery 210 University of Missouri, St.
    [Show full text]
  • Botticelli Past and Present Ever, the Significant and Continued Debate About the Artist
    The recent exhibitions dedicated to Botticelli around the world show, more than and Present Botticelli Past ever, the significant and continued debate about the artist. Botticelli Past and Present engages with this debate. The book comprises four thematic parts, spanning four centuries of Botticelli’s artistic fame and reception from the fifteenth century. Each part comprises a number of essays and includes a short introduction which positions them within the wider scholarly literature on Botticelli. The parts are organised chronologically beginning with discussion of the artist and his working practice in his own time, moving onto the progressive rediscovery of his work from the late eighteenth to the turn of the twentieth century, through to his enduring impact on contemporary art and design. Expertly written by researchers and eminent art historians and richly illustrated throughout, the broad range of essays in this book make a valuable contribution to Botticelli studies. Ana Debenedetti is an art historian specialising in Florentine art, artistic literature and workshop practice in the Renaissance. She is Curator of Paintings at the Victoria and Albert Museum, responsible for the collections of paintings, drawings, watercolours and miniatures. She has written and published on Renaissance art and Botticelli philosophy. Caroline Elam is a Senior Research Fellow at the Warburg Institute, University of London. She specialises in architecture, art and patronage in the Italian Renaissance and in the reception of early Italian art in the late nineteenth and twentieth century. Past She has held academic positions at the University of Glasgow, King’s College, Cambridge and Westfield College, University of London.
    [Show full text]
  • University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St
    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You willa find good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]