Tag: body

Robert Gober, Untitled (Big Torso), 1990, beeswax, pigment, human hair, ca. 24 x 18 x 11 in., Anthony Meier Fine Arts, San Francisco

Rachel Whiteread, Untitled torso , 1991, cast dental plaster, 7.6 x 22.9 x 15.2 cm (3 x 9 x 6 in)

Patricia Piccinini, Egg/Head, 2016, Silicone, human hair

Alina Szapocznikow, Ventre (“Belly”), circa 1968, repeatedly thermoformed plastic, 50 x 50 x 20 cm

Hans Bellmer, The Doll, 1936, reconstructed 1965, Painted aluminium on brass base

Sarah Lucas, Sex Baby Bed Base (detail), 2000, chicken, T-shirt, lemons, and hanger, 70 9/10 × 52 3/5 in 180 × 133.5 cm

Berlinde De Bruyckere, Muffled Cry of the Unrealisable Desire, 2009-2010 (wax wood, glass, epoxy, iron)

Tim Hawkinson, Torso, 2018,  Shopping bags, urethane foam

Louise Bourgeois. Untitled 1998. Fabric and steel, 10 x 25 ½ x 18 inches.

Kiki Smith, Untitled (Upper Torso), paper mache with graphite, Nepal paper, marbelized paper, cloth, muslin, newspaper and wood, 16 by 18 by 8 ¼ in.

raveneuse:

Hannah Wilke, Intra-Venus, (1992-1993).

Hannah Wilke died in 1993 from lymphoma. Her last work, Intra-Venus, is a posthumously published photographic record of her physical transformation and deterioration resulting from chemotherapy and bone marrow transplant. The photographs, which were taken by her husband Donald Goddard whom she had lived with since 1982 and married in 1992 shortly before her death, confront the viewer with personal images of Wilke progressing from midlife happiness to bald, damaged, and resigned. The Intra Venus works also include watercolor Face and Hand drawings, Brushstrokes, a series of drawings made from her own hair and the Intra Venus Tapes, a 16-channel videotape installation.

Anne Ferran, “1-38”

“1-38 begins with a study of departmental health records and photographs from a women’s mental asylum in mid-twentieth century Sydney. Rather than re-photographing the images in their entirety, Anne decided to crop in, focusing on the gesture of the hands, the area of the torso, and most importantly, keeping the identity of each woman concealed. What results is a sequence of body movements, where each hand emotes anxiety, anger and stillness, sometimes clutching at one’s clothes, or making gestures of self-protection.”

–Lisa Blas