Aunty Jam, 2005
Steel cage, wire, nylon tights, cast concrete
(via Gladstone Gallery)
Source: gladstonegallery.com
Self Portrait with Fried Eggs, 1996 from Self-Portaits 1990-1998
Inkjet print on paper
(via Tate Collection | Self Portrait with Fried Eggs by Sarah Lucas)
Source: tate.org.uk
Oh! Soldier, 2005
Braces, wire hanger, cast concrete army boots and nylon stockings
(via MoMA | The Collection | Sarah Lucas. Oh! Soldier. 2005)
Source: moma.org
Fighting Fire with Fire, 1996 from Self-Portraits 1990-1998
Inkjet print on paper
(via Tate Collection | Fighting Fire with Fire by Sarah Lucas)
Source: tate.org.uk
“Penetralia” Series - 2010
(via Gladstone Gallery)
Source: gladstonegallery.com
Self Portrait with Skull, 1997 from Self-Portraits 1990-1998
Inkjet print on paper
(via Tate Collection | Self Portrait with Skull by Sarah Lucas)
Source: tate.org.uk
She likes it cozy, 2005
Wood table, breeze blocks, steel buckets, nylon tights, light bulbs
(via Gladstone Gallery)
Source: gladstonegallery.com
Got a Salmon On #3, 1997 from Self-Portraits 1990-1998
Inkjet print on paper
Source: tate.org.uk
Black and White Bunny #1, 1997
Photograph on paper
(via Tate Collection | Black and White Bunny # 1 by Sarah Lucas)
Source: tate.org.uk
Smoking, 1998 from Self-Portraits 1990-1998
Inkjet print on paper
Source: tate.org.uk
It’s Not the End of the World (Remember Me), 2003
Cigarettes and pencil on colored paper
(via MoMA | The Collection | Sarah Lucas. It’s Not the End of the World (Remember Me). (2003))
Source: moma.org
Divine, 1991 from Self-Portraits 1990-1998
Inkjet print on paper
“Sarah Lucas has challenged sexual stereotypes in a series of provocative self-portraits. She turns against the art-historical tradition of the female seductress or muse, and presents herself in a deliberately androgynous, and occasionally aggressive, series of poses. She adopts masculine gestures and stances, and shows herself in unisex clothing like jeans and T-shirts. These images also raise questions about the role and appearance of the modern artist. In contrast to the stereotype of the artist as an anguished male, Lucas shows herself as an ordinary person in emphatically ordinary surroundings.”
Source: tate.org.uk
Beyond the Pleasure Principle, 2000
Mixed media
“Lucas’s bawdy humour takes a darker turn in this work. She uses a variety of household objects to produce a witty metaphor for sexual activity. However, the comic references contrast with the sobering presence of a cardboard coffin. The title refers to a seminal text by the psychoanalyst Sigmund Freud. He suggested that the drive for life is matched by an equal and opposite drive for death, so that pleasure is bound up with destruction.”
(via Tate Collection | Beyond the Pleasure Principle by Sarah Lucas)
Source: tate.org.uk
Self-Portrait with Mug of Tea, 1993 from Self-Portraits 1990-1998
Inkjet print on paper
(via Tate Collection | Self Portrait with Mug of Tea by Sarah Lucas)
Source: tate.org.uk
Chicken Knickers, 1997
Photograph on paper
“Following the Surrealist tradition, Lucas places familiar objects in shocking or unexpected arrangements. Many of these exploit the sexual innuendo that is a key feature of popular British comedy, from Carry On films to Viz magazine. In this photograph, the humour has a troubling edge. Displaying a plucked chicken in place of a young woman”s genitals, Lucas hints at the violation and gender stereotyping that underlies such jokes.”
Source: tate.org.uk
