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Mona Hatoum (Paperback, New)
Michael Archer, Guy Brett, Catherine De Zegher, Edward W. Said, Piero Manzoni
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R862
R709
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Mona Hatoum creates events, videos, sculptures and installations
that relate to the body, to language and to the condition of exile.
Her most famous work Corps Etranger, first shown at the Tate
Gallery when she was nominated for the Turner Prize in 1995, takes
the viewer on a journey through the inner passages of the artist's
body. Her audience is thrown into a dimension in which anything is
possible, as in The Light at the End, which lures viewers down a
long tunnel towards a light that will literally burn them. While
her video work is often visceral and emotive, her sculptures and
environments are ultra cool and minimal in their aesthetic. They
often mimic domestic or institutional furniture, yet their designs
and materials have a threatening edge. Exquisitely beautiful,
Hatoum's works are at the same time powerful evocations of
statelessness, anxiety, denial and otherness. Since Hatoum was
exiled to London, where she has lived and worked since the 1970s,
she has exhibited her work around the world, including the Centre
Pompidou in Paris and the Venice Biennale. This book surveys all
her work, ranging from early performances, through to her videos,
objects and full-scale environments. The distinguished art critic
Guy Brett, author of Through Our Own Eyes: Popular Art and Modern
History (1986), explores key themes around a sense of place, the
body and communication that emerge from Hatoum's range of work. The
artist describes a chronology of practice in conversation with
Michael Archer, writer, curator and co-founder of London's Audio
Arts sound archive. Director of the Kanaal Art Foundation Catherine
de Zegher makes a complex and provocative analysis of Recollection,
a work she commissioned for a sixteenth-century beguinage. Hatoum
has chosen a text by the influential Palestinian author Edward Said
as well as a statement from the noted Italian post-war sculptor and
performance artist Piero Manzoni. The book also includes Hatoum's
own notes, statements and interviews.
Artists, art historians, and critics look at the legacies of
feminism and critical theory in the work of women artists, more
than thirty years after the beginning of the modern women's
movement and Linda Nochlin's landmark essay "Why Have There Been No
Great Women Artists?" More than thirty years after the birth of the
modern women's movement and the beginnings of feminist art-making
and art history, the time is ripe to examine the legacies of those
revolutions. In Women Artists at the Millennium, artists, art
historians, and critics examine the differences that feminist art
practice and critical theory have made in late twentieth-century
art and the discourses surrounding it. In 1971, when Linda Nochlin
published her essay "Why Have There Been No Great Women Artists?"
in a special issue of Art News, there were no women's studies, no
feminist theory, no such thing as feminist art criticism; there was
instead a focus on the mythic figure of the great (male) artist
through history. Since then, the "woman artist" has not simply been
assimilated into the canon of "greatness" but has expanded
art-making into a multiplicity of practices with new parameters and
perspectives. In Women Artists at the Millennium artists including
Martha Rosler and Yvonne Rainer reflect upon their own varied
practices and art historians discuss the innovative work of such
figures as Louise Bourgeois, Lygia Clark, Mona Hatoum, and Carrie
Mae Weems. And Linda Nochlin considers changes since her landmark
essay and looks to the future, writing, "We will need all our wit
and courage to make sure that women's voices are heard, their work
seen and written about." Artist Pages By: Ellen Gallagher, Ann
Hamilton, Mary Kelly, Yvonne Rainer, Martha Rosler Contributing
Writers: Emily Apter, Carol Armstrong, Catherine de Zegher, Maria
DiBattista, Brigid Doherty, Briony Fer, Tamar Garb, Anne Higonnet,
Ewa Lajer-Burcharth, Molly Nesbit, Mignon Nixon, Linda Nochlin,
Griselda Pollock, Abigail Solomon-Godeau, Lisa Tickner, Anne Wagner
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