The Body VII: Contemporary Bodies
Cindy Sherman (U.S. b. 1954) Untitled
No.224, 1990, colour photograph, 122 x 97
cm
Cindy Sherman – contemporary
photographer who uses herself as a model
and adopts different characters, often
raising questions about gender roles, and
images of Women in historical art, TV and
film.
Caravaggio, (Italian,
1571-1610)Sick
Bacchus, c. 1588,Oil
on Canvas, 67 x 53
cm
Postmodernism: challenging of all types of structures, traditions
and beliefs.
We saw the challenging of previous traditions with the avant-garde in Modernism.
The new movement always thought it had the better way to get to an authentic
expression. With Postmodernism, there is not that sense of ‘we have the answer’. It
is more a case of ‘there ARE no definite answers. No one path is correct.’ There is
no one, single truth. Rather, there are many stories; many voices.
Feminist art practices, of which there are many varieties, are an example of this.
Jill Orr (Aust. n.d.) Bleeding trees 1, performance, 1979
Orr uses the female body (her own) to identify with the
natural environment. Her work is both Feminist and
environmental. The idea of women being more connected
to the earth, more in tune with it (than men) because of
their reproductive cycle was a popular Feminist motif of the
1970s.
The Feminist era (middle of 20th Century) also saw the rise of Goddess practices
(where God, or the divine being, is seen as female rather than the more
traditional idea of a Father-god.)
Artist unknown, Willendorf Venus, c. 23,000 BCE,
stone,10cm high.
This little image, with exaggerated breasts and
hips, became very popular with the rise of
Feminism, and discoveries about ancient cultures
who worshipped Goddesses instead of male Gods.
Julie Rrap (Aust., b. 1950 ) has been involved with performance art and “body art”
from the 1970s onwards. Her work involves photography, painting, sculpture,
video and installations. She is interested in the psychology behind how we view
photographs and video. Her work is often fun but always raises questions. She
often appropriates or references historical or earlier artworks.
Camouflage #3, (Elizabeth)
2000, digital photograph,
195 x 122cm
Film still of
Elizabeth Taylor in
National Velvet,
1945
Overstepping, 2001, digital
photograph, 120 x 120cm
Examining the Exam…
Q: Shahzia Sikander was born in 1969 in Lahore, Pakistan. She has achieved
international recognition for her artistic practice. In 2007 her artwork
Transformation as Narrative was exhibited at the Museum of Contemporary
Art, Sydney.
Explain how Shahzia Sikander uses different procedures in the
production and exhibition of her artwork Transformation as Narrative.
“Sikander carries a camera with her
daily, documenting her observations
which are frequently incorporated into
her work in some shape or form…”
– Rachel Kent, Curator.
Plate 1: A selection of Sikander’s
Preliminary drawings; photographs
And reference materials.
Plate 2: Gallery technicians assisting with the
Preparation of Sikander’s artwork Transformation
Narrative 2007 at MCA Sydney
Plate 3: Shahzia Sikander working on
Transformation as Narrative, 2007 at MCA
Sydney. Acrylic on wall, wall dimensions
686 x 1164cm.