women artists • Posts Tagged ‘works on paper’

Sanja Iveković
Tragedy of a Venus, 1975–76
Gelatin silver print and magazine page

“In Tragedy of a Venus Iveković probes the impact of the lives of Hollywood celebrities on those of ordinary people. Here she pairs photographs of Marilyn Monroe (the archetype of feminine desirability), taken from a 1975 tabloid published in the magazine Duga, with snapshots in which the artist appears as a ballerina or strikes mocking, “glamorous” poses for the camera. Using an endless repertoire of roles, poses, and personas derived from magazine ads, fashion photography, and tabloids, Iveković calls attention to a kind of fame, quite common in the West, that was unimaginable for an Eastern European artist. Like Double Life, this series presents the fictions on both sides, both of public and private narratives, of Iveković’s invented double life; she suggests that a magazine advertisement and a personal snapshot have become analogous in a world increasingly experienced through images.” -MoMA

Source: moma.org

Sanja Iveković
Paper Women, 1976–77
Torn printed paper,

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Sanja Iveković
Paper Women, 1976-66
Torn printed paper

“In 1976 Iveković began to more violently alter advertisements in order to defamiliarize them, to turn them into an unsurprising antithesis of seductive high-fashion veneer. One such work is Paper Women, a series of magazine ads, featuring beautiful models, that have in some way been defaced—torn apart, cut into pieces, scratched, or perforated—so that each picture bears tactile evidence of the artist’s attack. Here Iveković uncovers the violence that lurks behind beauty’s polished surface by shattering the image itself.” - MoMA

(via MoMA | Sanja Iveković: Sweet Violence)

Source: moma.org

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Sanja Iveković
My Scar. My Signature (Girls), 1976
Lipstick on magazine page

“Iveković’s analysis of power structures and the clichés of gender representation is exemplified in My Scar, My Signature (Girls), a series of full-page ads in which the artist smeared women’s faces with lipstick kisses (the distinctive mark of her bottom lip, scarred in a childhood accident, is intentionally brought into play). The related series My Scar, My Signature (Ads) features ads for exhibitions from Flash Art magazine. With this group of works Iveković posits an anti-institutional critique of the art world and consumer culture.” - MoMA

(via MoMA | Sanja Iveković: Sweet Violence)

Source: moma.org