Seductive Subversion: Women Pop Artists, 1958–1968, is the first major exhibition to explore in depth the contributions of female Pop artists and seeks to expand the definition of classic Pop art and re-evaluate the role of the women who worked alongside the movement’s more famous male practitioners.
It features more than fifty works by Pop art’s most significant female artists and includes many pieces that have not been shown in nearly forty years.
Although radical social changes were taking place in America in the 1960s, the female Pop artists of the time remained largely unacknowledged by the contemporary art critics and academics. Relegated to the margins of history by discrimination, historical precedent, and social expectations, these women were forced to take a back seat to their male counterparts, who became icons of the era. Informed by their personal histories, the work of female Pop artists was often collaborative and incorporated empathetic social commentary.
Seductive Subversion includes Marisol’s John Wayne sculpture, commissioned by Life magazine for an issue on movies; the French sculptor, painter, and filmmaker Niki de Saint Phalle’s eight-foot-tall Black Rosy, one of her “Nana” sculptures exploring the role of women; Rosalyn Drexler’s oil and acrylic work Chubby Checker, inspired by the poster for the movie Twist around the Clock, and Home Movies, based on frames from old gangster movies; the Times Square–inspired Ampersand, a multilayered, stylized, and illuminated neon ampersand in a Plexiglas cube by Chryssa, one of the first artists to utilize neon in her work; and a seventeen-foot-long triptych by Idelle Weber.
Seductive Subversion: Women Pop Artists, 1958–1968 will be on view at the Brooklyn Museum of Art beginning October 15, 2010 and will run through January 9, 2011.
After the heart wrenching circumstances of losing their son, a grieving couple, played by Willem Defoe and Charlotte Gainsbourg, take refuge in their cabin in the woods, where they encounter bizarre occurences. The film is broken down into four parts: prologue, chapter one through three, and epilogue.
Review: The opening prologue is like a cinematic opera-ballet. Lars von Trier, the director who gave us Dogville, paints his canvas in slow motion catching every nuance and emotion. How Spieiberg’s Saving Private Ryan was acclaimed to be the greatest and most violent first thirty minutes in cinematic history, Trier’s opening seven minute prologue matches that on equal and opposite end of the spectrum.
In Chapter One and Two, we watch the mother spiral downward into her anguish as her husband, a psychiatrist, patiently and singularly tries to bring her through it. This is quite selfish on his part. There is a scene where they’re on a train and he’s walking her through a closed-eyed almost hypnotic therapy session trying to get to the root of her fears. In this session, she is walking towards “Eden”, their cabin in the woods, and it’s a long shot view with a full creek and a bridge straight away. You see a figure on the bridge. The figure moved ever so slowly; I actually thought I was watching a still photograph. I kept my eyes on the distant figure in white, concentrating intently and noticed it was in fact moving. The few sequences following were the same. It’s the most unusual editing technique I have ever seen.
Lev Yilmaz is a San Francisco based independent film maker, artist and publisher and creator of Tales of Mere Existence cartoon series. In his new video he explains his views of his parents and their skills at parenting as he grew up. It’s impossible not to appreciate and relate to this.
An exhibition titled ‘Skin Lab’ (at Wellcome Collection U.K.) draws attention to recent cutting-edge research and technological developments in skin science from the mid-20th century onwards. Concentrating on advances and innovations within the realms of plastic surgery, artificial skin and regenerative medicine, Skin Lab provides an opportunity for extended enquiry into the science and physiology of our largest organ, which is explored through the work of five contemporary artists: from Marta Lwin’s biological skin jewellery cultured from epithelial cells to Rhian Solomon’s sculptural re-interpretation of skin-flap diagrams.
Also featured is a selection of medical films from the Wellcome Library archives that examines some of the unique properties and diverse pathologies that characterise the human skin.
Samples of some commissions:
‘Lessons on Limberg’, 2010/’Bodycloth’, 2010
Inspired by a revolutionary text by pioneering Russian plastic surgeon AA Limberg (‘The Planning of Local Plastic Operations on the Body Surface: Theory and practice’, 1963). Reveals the ongoing application in contemporary medical practice of Limberg’s technique of constructing geometric paper models of skin flaps, which he used in the planning of surgical procedures in the 1960s.
‘Against Nature’, 2010
This new commission reflects on epidermolysis bullosa (EB) – a genetic skin disorder that causes the skin and internal body-linings to blister with the slightest physical contact.
To coincide with the ‘Skin Lab’ exhibition, Wellcome Collection is running a competition to design a tattoo for Caisa Ederyd, their tattoo-obsessed volunteer. We are asking you to put pen to paper and send us your designs for Caisa’s tattoo. The winning entry will be tattooed live on Caisa’s body in the ‘Skin’ exhibition at the ‘Tattoos: Marks of meaning’ event on Thursday July 22. 2010.
Having your own design etched onto someone else’s body for all eternity. You will also win a year’s free membership of the Wellcome Collection Club and the chance to get a tattoo done for free at Good Times Tattoo.
The Fall 2010 Givenchy collection of couture gowns are simply breathtaking textural materpieces. The detail in the beading is exquisite. Some gowns leave little to the imagination. But who cares when you look this stunning. We’ll take one of each.