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הראשונים להציג עירום גברי כארוטיקה ולא כתמונה אקדמית – ציור או צילום – היו גברים .הם העזו ,כצרכני ארוטיקה ,לפרוץ את מחסום
העירום הגברי.
אחריהם באו נשים שהציגו עירום גברי .אך לא היתה זו ארוטיקה...
:Notes
This book is the official catalog of the exhibition, Frauen sehen"
Männer)Male nudes by women("--Colophon.
Includes bibliographical references.
.Gift of Lois Pollard Price
:(Subject(s
Niccolini ,Dianora.
Rosenthal, Karin.
Burns, Marsha.
Pastor, Suzanne E.
Peschick-Irene, 1937 ,
Traverso ,Giuliana.
Goldin-Nan, 1953 ,
FellmanSandi ,.
-De Genevieve, Barbara, 1947
-Davis, Lynn, 1944
Photography of the nude--Exhibitions.
Male nude in art--Exhibitions.
Other
:(Author(s WeiermairPeter ,.
Paula Rego is a Portugese Artist who was born in Lisbon in 1935 .She studied in London at the Slade, and is •
known chiefly for her large paintings based on stories .Her mysterious and often sinister characters, maybe from
.fables or novels, act out emotions in a way which can make the stories recognisable as our own
She enjoys a global reputation as the supreme artist storyteller, whose work at first glance may seem strangely •
innocent, whist further examination draws the onlooker into an uncomfortable world where women are often the
dominant characters .Described by Germaine Greer )Greer, Germaine, 1939–, Australian feminist and writer. She moved to England
)1964(, earned a Ph.D. from Cambridge, and taught at the Univ. of Warwick )1967–73(. Her bookThe Female Eunuch )1970(, an analysis of attitudes
toward women and a call for an end to sexual repression, made her a leading spokeswoman forfeminism . She has also writtenThe Change: Women,
Aging, and the Menopause )1992 (. as a"feminist artist "Rego explained that her work is often filled with revenge : "I can
"make it so that women are stronger than men in my pictures .I can turn tables and do as I want
Sylvia Sleigh
Joan Semmel 1977
Louise Bourgeois
Nancy Spero,"Sperm Bomb" )1966
Spero Nancy
Nancy Spero The Bomb 1968
gouache and ink on paper, 34 x 27-1/4 inches
Courtesy Galerie Lelong ; COVER IMAGE December 11 is Female Bomb 1966,same medium and dimensions as The Bomb, University
Art Collection, New School University, New York
A more forceful contrast with Mr. Held couldn't be imagined than Nancy Spero's War Series, next door at Galerie Lelong. To Mr. Held's "Star
Wars" backdrops Ms. Spero offers the "relief" of an all-too-real war, Vietnam - of which, it emerges, she was the Goya.
The War Series, dating from 1966-70, when the artist was in her early 40s, presents a strange and harrowing beauty. In scale and immediacy
these gouaches are somewhere between agitprop and Outsider Art. Fiercely drawn and crudely expressive, they form a bestiary of war,
with helicopters transformed into vicious bugs and birds, and atomic mushrooms rendered as writhing phalluses.
The series seems at once public and personal, a rallying-call to fellow peace activists and a retreat into the artist's own psyche. As such, they
anticipate Ms. Spero's later career, when she became a leading light of the women's art movement; for feminists, neat divisions of public
and private do not hold.
In ideology and style alike these apocalyptic, mythopoeic images are urgent and angry. Brushwork is fierce, ink and paint artfully run dry before
lines end, the skimpy paper buckles under physical and emotional stress. There's an abundance of gnashing teeth, gushing blood, and
flung body parts. The politics can be as primitive as the touch: American eagles morph into Nazi swastikas while "D.O.W. D.E.A.T.H." and
"D.O.W. M.U.R.D.E.R.E.R." are inscribed on the barrel of an exploding phallus/cannon. But when was the power of protest art ever
measured by the subtlety of its political analysis?
Despite the agitated handling and bolshy sloganizing, these images have a weirdly ethereal timelessness about them. Ms. Spero's language
filters classical and medieval elements through modern expressionism; the results, often enough, recall romantics of a century or two
earlier -Blake, or Redon.
"The Bomb," 1968, personifies modern destruction as a male figure. )The work, reproduced in the catalogue, did not appear in the exhibition(.
His legs and torso are rendered with classical finesse. His arms and head transmogrify into a mushroom cloud, on the crest of which ride
gargogyle-like heads spewing blood or venom. Similar heads surmount a pair of at once weaponized and anthropomorphized penises that
jut at right angles from his crotch.
And yet - no doubt counter to the pure ethical intentions of their author - these images take the viewer to a place beyond simplistic moralizing.
However stridently anti-military her iconography tries to be, an element of ambiguity creeps in - like a good 'ol rape-and-pillage scene in
Titian or Rubens. The artist seems to have internalized more of the aggression she sought to exorcize than she might have realized
Sexuality, a forceful metaphor for aggression, is a pulsating presence in the artist's voluptuous touch. The content may belong to Thanatos, but
the form is claimed by Eros.
Spero Nancy 95
Tatiana Antoshina – queen of the night
Dianora Nicolini 2001
יש התיחסות לעוצמה הגברית אבל אין
אינטימיות.
Neel guided me into the living room that was her studio during the day and right there and then
placed me on the couch :That's it .Just stay right there .I’ve always wanted to paint you .You look like
.a faun or a satyr or like Pan