Hannah Wilke’s feminist art.

Why do women have to be charming and attractive to men? Why does the “man see a woman” always big and small call and “female view male” but want furtive? Why does the image and figure of a woman have to be the prey of a man’s lust for pleasure? Why do women’s inner secrets, pain, sickness and death never enter the human eye? Why is it that human women can only be “cute” and not “ugly”?

Do women have to make men feel comfortable?

The female body, which has been the material for thousands of years of human art history, is the theme of artistic creation and aesthetic immortality. But even if the female body has always been the artistic creation and view objects, but it doesn’t mean the female body ─ female desire, health, growth, social encounters, opposite sex abuse, physical, and so on ─ by the attention they deserve. The female body is actually the “alienated body” of art, commodities, politics and men, which is the medium of male self-worth fever and inflation. Since the middle of the 20th century, with the rising of feminism, women’s liberation was due to physical liberation, as a result, deconstruction “male view and ethics” is the core of contemporary feminism art practice mission.

In 2005, an exhibition titled “Inside Out Loud: Visualizing Women’s Health in Contemporary Art” was exhibited at the university of Washington in st. Louis, Missouri. In “gender” (gender performance) and the “bad luck” women (femme fatale) as the theme, the late American feminist artists action, contemporary art body outstanding contributors to Hannah. Wes welker (Hannah Wilke, 1940-1993), has once again aroused people’s attention, especially Hannah. Wes welker old age to the camera records and their mother suffered from cancer erosion and decay of the body, still staggering and sympathy.

Hannah. Wes welker and another British artist Joe s bangs (Jo Spence, 1934-1992) as the middle of the 20th century two well-known feminist photographer, two people form is not the same, but the art concept is quite consistent. “Feminist Photography” (The Feminist Photography) does not mean that generally by The female professionals engaged in photographic activities and works, but a “female perspective” as The basis, with extreme personalization, The mainstream and The reality of attitude, interventional to women’s own body, desire, imagination and emotion, to examine and evaluate its relations with The outside world art activities. Women photography is a kind of “reproduction” (self – representation) action art, they questioned the “women only naked into the exhibition and museum”, the book of the law of against women must make men “looks very comfortable to be” art “” bias. The emphasis on photography is not the “click” of the man (the photographer), but the woman (the photographer) who ACTS on camera. “Feminist photography” the basic idea is, women have been men desire of reappearance “violence” (violent representation) of the product, women must be redefined, and the self definition, and the right of this definition, the history always control in the hands of men.

Deconstructing male psychosexuality logic.

Hannah. Wes welker, born in 1940 in New York early in Philadelphia, “Taylor’s academy of fine Arts (Tyler School of Art) learning sculpture and fine Arts, a bachelor’s degree in Arts in 1961, after graduation in Manhattan, New York” School of Visual Art “, a professor at School of Visual Arts) sculpture, died of cancer in New York in 1993. Hannah. Wes welker works are difficult to categorize, also difficult to popular and marketization, although her works by “abstract expressionism”, “minimalism”, and the influence of the concept of “doctrine”, but with the specialization of later work, the work is getting more and more difficult to delimit a particular “human art” category, on the contrary, her work can even reverse positioning in the category of “counter/body aesthetic”. In the United States, mainstream art institutions have always been shy about displaying Hanna’s work, but her work has flourished in Paris and northern Europe.In the 1970s, Hannah werke became famous for making “videotape of performance,” but it was also controversial. In the beginning, Hanna welke showed off the “eroticism of the body” in the realm of women’s sex and sexuality. But soon, Hanna. Wes welker found a female body in male sex “the service” in the field of vision (enslavement) and “sex” captive exile (captivity), recognize that this does not make women gain pleasure in their bodies to show body art, but is a “he” (enjoyment for “Others”). In wes welker point of view, a history of the human body art but is based on the male desire and make out the history of ornamental “body”, a male as the aesthetic subject, meet the men lust of vision into industry. Human body aesthetics is a kind of very suspicious and paradox “otherness” of art, in should use what kind of artistic thinking to shape the female body beauty, women are rarely “self doubt”, instead of being an ingrained male desire. Hannah. Wes welker insists that art is not a man’s gift is tasted, so Hannah. Wes welker from naked female body beauty “show”, to “display” form, the male to the female body bare view and male peep and experience the most direct way is to “let yourself be peepers”, in the men’s “view” and “porn” experience the desire of men form, and the interference, spoil, blocking, deconstructs male view and structure, to reconstruct the nature of the female body. So Hanna welke began to use her own body as a medium for her own creative and unique bodily performance to show the oppression and curse of the female body in the eyes of men.In 1974, the running time of 35 minutes 30 seconds animation “gesture” (gesture), informal, with a body form and expression of unusual changes, through the body the most direct link between language and culture, to deconstruct the people behavior and cognitive structure to the body of the view. “Attitude” of creation concept is based on the traditional aesthetic sense of the concept of “beauty” (beauty) dialectical reflection, which is on the one hand, giving the body a variety of potential energy variation, highlight and enrich the body itself implied complex cultural tolerance, on the one hand, through the visual effect and cognitive contrast, to interfere with, damage, deconstruction finalize the design concept of “the beauty of the body”. In the “attitude”, Hanna. Wes welker face to face with the lens, winking and in a variety of repeat feature and continuous motion, or let the eyes of concave and convex deformation, scrub your soft face, pulling the skin, or crack mouth spits, pain, smile. Hannah. Wes welker the body as a kind of sculpture tableland expected, on the one hand to the will of any altered human body morphology allegorical violence, on the one hand and the body “fluid” and “ta”, change in the physical properties of the body into a mediated “will” the culture of the body, a to dismantle the female body curing qualitative symbols, a performance in the female body culture takes up (cultural imposition) of vulnerability. Obviously, in the early writings, Hannah, trying to give up the idea of “artistic publicity/body gallery”, trying to “not comfortable” of the body (ill at ease) and artistic (estheticism) oppose “only aesthetic feeling”, break traditionally female body as prey of cultural constraints.
In 1975, “Hello, Boys,” Hannah welke took a large fish tank as the stage (context), behind the mirror, naked and accompanied by rock music. Hannah, combined with the performers and the viewer’s dual identity, “mermaid” as the artistic metaphor, visual call for erotic dance, so as to show women were to catch, the essence of the farming, the toy. The theme of “desire to see” is intended to be an allegory of male gaze that traditionally sees women as the “desire mermaid”. The fish tank is traditionally defined as a “leisurely” image, but in fact the aquarium is just like the “tank”, which is a water collector for male desire and a cage for female body. In fish tanks, women are kept in captivity by men’s “desire to save water”. Women think they are free and have nothing to worry about, but they are actually a pleasing ornamental for men. The same concept works and 1976 “Through the Large Glass” (Through the Large Glass), Hannah, Marcel. Duchamp (Marcel Duchamp, 1887-1968) masterpiece “the Large Glass” (the Large Glass) behind the performance, work how it reproduces the history of female body are lust, and nude women how to be popular, commercial course, thoroughly expose the female body into male desire consumption and the nature of business transactions.Body how to become a commodity consumption and the operation of the political power field, is the thought of contemporary feminist theme, how to examine and present body reappear and respond to external power, political art is body’s creative clues. French sociologist rephrases Baudrillard (Jean Baudrillard) in the book “consumer society”, pointed out that the consumption is chaotic, appeared on the surface of the personal private and autonomy, in fact, consumption is a kind of constraint, a kind of ethics, a kind of system, a kind of value system. The relationship between body and consumption is a social system that congeals specific values in the consumption behavior with the body as the object. The body is the buying and buying of consumption, and consumption is the mold of the body. Today, the body has become a “symbol of consumption,” capitalism “bottomless pit” giving women body consumption value, but it will serve as the “capital exchange” ably in the body and as a “sex and the habitats” apart from the natural body, the body and the capital to let a person look since the distinction is not clear, imperceptible; The benefit of the women in entertainment and hedonism tableland is to develop their own body, even in accordance with the male “peep scale” to construct your own body shape, make it as value symbol form (fashion symbols and symbol) operation.How to use the body as a “counterexample” and “iron certificate” to rediscover the power and gender aggression of the female body is the basic concept of Hanna welke’s medium term creation. In 1978 and 1982, two series of “Help Me, Hannah,” So Help Me Hanah), the use of the postmodern cities decadent image and commodity political tone, to show violence, power and gender in a space (urban consumption world) entangled state. Works by the basic elements of naked beauty (only put on a pair of high heels Hannah. Wes welker yourself), water type of piano music and the hands of a pair of light gun (ray gun), the background looks like a filthy ground of roadway, belongings into the altar, shabby iron stairway. Hannah welke, with the dirty scenes of a slum, is a woman with a lustrous woman who aims to represent the condition of a woman’s subaltern representation. “Mean” and “the female body” strong contrast, revealed that women in the city for the “surplus value” in the sea, the spread of sexy like sweep streets of rubbish, and commercial and political desire to reproduce, make women become a kind of “desire”, flashing people instantaneous pulse sensory stimulation.Do not take tone, as well as a way of uncoordinated comprehensive characters, words and music of mumbling, mixed with both planning ideas and conceptions of operation performance, work in a “video stream of consciousness” and “body politics” art technique, shows the situation, women “waiting” also showed Hanna. Wes welker adept at using gesture and facial expression to convey civilization conflict, gender, aggression and body twisting squeeze type tension between induction. Works in the pistol is a meaning like sharp objects, it is a symbol of war, power and penis, but Hanna. Wes welker pose both love of guns of tai, and to “light” to express a tease type resistance, the meaning of “gun” is not limited to the category of violence, oppression, but extended to all invisible murder the indulgence of the senses, commercial and political terrorism. “Shot” in English has the double meaning of “photography” and “shooting”, which means that commercial exploitation and sexual assault have left women in a state of constant panic.In swing with the music, Hanna. Wes welker read aloud, words drawn from statesmen, poets, critics and philosophers, the artist’s famous phrase, including Hitler, Joyce, Susan sontag, etc., this is the most difficult part of the whole series, like in the authority of the allegorical language and autocracy, and like in the image interpretation and metonymy. Hannah. Wes welker sometimes like a work on the black even fireworks woman from down the steps of the dark, but only see sexy curves and hip after covered with light and shadow, glimpses of cutting fence, mean destruction, and the feeling of abandoned; Sometimes it is like the virgin who lies on the altar, with the sacrifice of the flesh as the decadent civilization playing the dark elegy; Sometimes like a female spy, the world is full of doubts, puzzles and probes; And the posture of kneeling down on the toilet and the glass frame, respectively, is a prisoner of desire, like a woman who is attacked by civilization.Although cancer before Hanna. Wes welker because too beautiful, makes the work of revolutionary implications face a reverse offset, some critics even think that, in a sexy beauty body to express the women’s difficult situation, is confused and disorder, but in the inner Venus Series (Intra – Venus Series) on display, “bad luck” women (femme fatale) no longer is a kind of performance, more is not a kind of art, but Hannah. Wes welker his breaking bad health disaster.In Hannah. Before wes welker was diagnosed with cancer, her mother has been suffering from breast cancer, her mother took two hundred photographs, according to Hannah. Wes welker himself, filming activities have given the photographed the therapeutic effect of renewed life vitality, even if the “watch the pain of the family” is always sad, but photography activities to “characters” replace “patient”, allowing patients to get rid of the difficult to get rid of “patients”, inhuman “identity”. Soon, Hanna. Wes welker themselves suffering from cancer, but the unfortunate encounter didn’t make her disheartened, because experience the meaning of life is watch death into the key position, record the extending and forming of the death in the body, it is a kind of the distance to the closest to death to feel the experience of death. Although Susan sontag in the misery of watching others pointed out that “beautification” is a classic feature of camera, it’s easy to bleach weak us to figure things in moral repugnance, but Hanna. Wes welker has, in the inner Venus series, Hanna. Wes welker is not only an amateur, intuitive, is also a bystander, in their pain “view”, Hanna. Wes welker achieving her to the art of “death” most real.Hannah. Wes welker at the crowd and show his blue eyes she was lying in a hospital bed, quiet, and inability to gaze, and step by step by cancer cells erosion from spoiling the body, caused by chemical treatment of hair loss and baldness, in deep and high black pupil, injection needle tube inserted in the chest, bloated and flagging abdomen flesh and blood of gauze, mobile bedpan, plant drug container, etc. Hannah. Wes welker not in manufacturing frightened or terrorist, but in the show a man absolutely not like but completely “own” body, with a real life of the body, with a realistic situation and ideological confusion body, with a from pp pp fell to the ground, youth and beauty, mature aging, step to the death of the evolution of “life”. Hannah. Wes welker with an endorsement of a belongs to own, not the pain of the body, to criticize her always with “sexy” exposed as artistic expression tool, proved, sexy and excuse is exposed from her art, her artistic philosophy has always been: from women’s bodies, through to the women’s real life experience and expression, to rebuild the existing significance and value of the female. In the picture, people saw once as “modern Venus” Hannah. Wes welker have angular deformation, the shadow of death as seems to be full of dark clouds of the sky, gradually rich exhibition, covered, consume tableland this bright the earth. However, there is no regret of life, like no color painting, good memories of the past is always a bit sad, in the end oil lamp is life, we can still see a soul of art, don’t want to die a regret, an artist is reluctant to part, to the life still dusty, a born to women, for women die stubborn style, a kind of never give up for the idea, as well as the renewal of life under the violent death Yin hope and desire.












































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