In Because Every Hair is Different (2005), Marlene Haring explores hair as a physical marker of femininity and desirability. Embodying the notion that long, fine blonde hair is the quintessence of Eurocentric (or white supremacist) feminine beauty standards to its extreme, Haring transforms herself into a surrealistic figure covered in flowing extensions. The abundant hair not only obscures the sitter, but also alludes to the continual investment of time and money to haircare and appearanceĀ demanded by popular beauty standards.
The first sightings of a ghostly figure wandering the woods near a newly constructed train line in Freehold, New Jersey began in the 1870s. They were usually described as a lady having glowing eyes or a pair of antlers that twinkled in the moonlight. The sightings were most frequent during the harvest moon in woodlands just outside the farms that bordered the town. Continue reading The Ghost Antlers By Travis Louie→
Writing about Alex KatzāsĀ work, Frank OāHara identified his wife Ada’s complex role in her husbands iconography: “the heads and figures of Ada give this beautiful woman, through his interest in schema, a role as abstract as that of Helen of Troy; she is a presence and at the same time a pictorial conceit of style.”
For Me as Warhol in Drag with Scar (2010) Gillian Wearing combined elements from two famous photo shoots of artist Andy Warhol (1928 – 1987): a 1981image of the artist in drag by Christopher Makos, and a visceral 1968 shot by Richard Avedon of Warhol displaying the freshly healed wounds to his torso resulting from a recent attempt on his life Continue reading Modern Art Monday Presents: Gillian Wearing, Me as Warhol in Drag with Scar→