Katherine Sherwood
After Ingrés, 2014
Paint on canvas, 75" x 80"
Mixed media on found linen
Part of the Venuses of the Yelling Clinic series
Website: http://www.katherinesherwood.com/
California, USA
Image by Katherine Sherwood
VO by Mari Weiss
Paint on canvas, 75" x 80"
Mixed media on found linen
Part of the Venuses of the Yelling Clinic series
Website: http://www.katherinesherwood.com/
California, USA
Image by Katherine Sherwood
VO by Mari Weiss
ARTIST STATEMENT:
I have been working on a new series of large-scale paintings featuring disabled reclining female nudes that reference medical imagery and disability. I am calling this series Venuses of the Yelling Clinic as I have appropriated art-historical images of the female nude in order to challenge canonical ideals of beauty.
These Venuses are painted on the linen backs of Art History reproductions made in 1950-60s that are tiled together with linen strips glued to the front side to create a large quilted linen painting surface. The images on the reproduction prints are canonical, primarily Western paintings and drawings that were used as educational tools in the Art Practice and Art History classes. They are reinforced on the reverse with linen backing so that they would be more durable. The linen backs are quite beautiful; they have handwritten labels with the artists’ names and catalogue numbers and they are worn, a bit yellowed, and show evidence of repeated use.
After Manet’s Olympia I painted Goya’s Maja with a cane similar to my own, Giorgione's Sleeping Venus as an amputee and Ingres’ Odalisque with a prosthetic arm. All Venuses of the Yelling Clinic are larger than life size, and once hung, they demand attention and dominate the space.
-Katherine Sherwood
These Venuses are painted on the linen backs of Art History reproductions made in 1950-60s that are tiled together with linen strips glued to the front side to create a large quilted linen painting surface. The images on the reproduction prints are canonical, primarily Western paintings and drawings that were used as educational tools in the Art Practice and Art History classes. They are reinforced on the reverse with linen backing so that they would be more durable. The linen backs are quite beautiful; they have handwritten labels with the artists’ names and catalogue numbers and they are worn, a bit yellowed, and show evidence of repeated use.
After Manet’s Olympia I painted Goya’s Maja with a cane similar to my own, Giorgione's Sleeping Venus as an amputee and Ingres’ Odalisque with a prosthetic arm. All Venuses of the Yelling Clinic are larger than life size, and once hung, they demand attention and dominate the space.
-Katherine Sherwood
DESCRIPTION:
A nude is painted on the plain linen backs of several historical art reproductions. Each linen canvas is labeled with codes and handwritten names: Vermeer, Cranach the Younger, Degas, Modigliani, Holbein, Van Gogh and Renoir. On top of these canvasses is a reclining nude woman with red-brown skin. Her back is to us, but her face is turned toward us. Her face is filled with brain scan imagery instead of facial features. She wears a large swirled headdress of gold and pale purple. The woman lies on a flat field of yellow covered with dark red hourglass shapes. She leans on her left elbow and rests her right arm over her knees. The right arm has a black prosthetic forearm and hand which holds a peacock feather fan.
-audio description by Teri Grossman
-audio description by Teri Grossman
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