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23. February 2009, 19:47
#65
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22. December 2008, 19:33
#64
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9. December 2008, 13:30
#63
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9. December 2008, 13:27
#62
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1. December 2008, 20:38
#61
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1. December 2008, 04:15
#60
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18. November 2008, 21:17
#59
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18. November 2008, 09:55
#58
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17. November 2008, 22:42
#57
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16. November 2008, 05:12
#56
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15. November 2008, 18:08
#55
Wilhelm Busch: Maler Klecksel
[...] Natürlich, da er so vorzüglich,
Sitzt er zu Ostern schon vergnüglich
Im herrlichen Antikensaale,
Dem Sammelplatz der Ideale.
Der Alten ewig jungen Götter -
Wenn mancher auch in Wind und Wetter
Und sonst durch allerlei Verdrieß
Kopf, Arm und Bein im Stiche ließ -
Ergötzen Kuno unbeschreiblich,
Besonders, wenn die Götter weiblich.
Er ahmt sie nach in schwarzer Kreide. [...]
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15. November 2008, 17:37
#54
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15. November 2008, 11:42
#53
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15. November 2008, 11:11
#52
Zeichner: unbekannt, Flyer für Wicked Boogie Night im Wiener Flex am Donaukanal
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13. November 2008, 10:11
#51
Henri de Toulouse-Lautrec, In the Salon (Au Salon), 1893. Pastel and oil on cardboard, 20 7/8 x 31 3/8 inches. Solomon R. Guggenheim Museum, New York, Thannhauser Collection, Gift, Justin K. Thannhauser 78.2514.73
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13. November 2008, 09:08
#50
Self-Portrait/Cutting, 1993
Chromogenic print
40 x 30 inches
Edition of 8
Courtesy the artist and Regen Projects, Los Angeles
Self-portraits have appeared in Catherine Opie's oeuvre not as a formal series but as singular photographs taken at important junctures during the course of her career. Self-Portrait/Cutting (1993) and Self-Portrait/Pervert (1994), her first photographs to explicitly engage the genre of self-portraiture, were produced alongside Portraits (1993–97), and like the works in that series, address contemporary concerns of queer identity, engaging the history of painting, and couching their political content in the formal beauty of classical art. Set against a vibrant, decorative fabric background, Opie's composition in Self-Portrait/Cutting depicts the artist's bare back, into which the bleeding image of an otherwise idyllic scene of lesbian domesticity—two women frolicking in front of a house, depicted in a childlike, stick-figure scrawl—was cut with a scalpel. Inspired by a recent breakup, this drawing expresses the artist's private emotions but also suggests how the politics of gender and sexual orientation can filter into individual lives. At the same time, the photograph co-opts the tradition of the female nude and presents Opie's own skin as a canvas or a photographic emulsion upon which her desires are carved or captured.
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10. November 2008, 09:20
#49
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10. November 2008, 08:52
#48
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10. November 2008, 08:48
#47
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9. November 2008, 08:38
#46
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5. November 2008, 10:19
#45
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5. November 2008, 09:55
#44
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3. November 2008, 10:09
#43
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3. November 2008, 10:04
#42
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19. January 2007, 22:31
#39
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14. January 2007, 14:39
#38
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13. January 2007, 22:52
#37
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13. January 2007, 19:01
#36
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