Art Gallery

Laura Aguilar

Motion #56,1999, Gelatin silver print, 27.9 x 35.5 cm

My goal as an artist is to create visual images that compassionately reflect the diversity of human experiences. I take photos of people that in the larger society are sometimes called "the other"

John Coplans

Lying Figure, 1990, B/W Photograph, 41 x 96 cm, Courtesy Galerie Anne de Villepoix, Paris

In my dream I travel down my genes and visit remote ancestors, both male and female. When posing for the photographs I found myself becoming immersed in the past...

Jeanne Dunning

The Blob 3, 1999, Ilfochrome mounted to plexiglass and frame, 87 x 125.7 cm

What would you be if you took away those things that make you yourself, all the things that shape and structure you? What would be left? You would be a body without structure, pure substance with nothing to shape it, corporeality without form.

İnci Eviner

Plastic Affair, 2001, Photo in light box, 35 x 45 cm (each)

The urban panorama is a product of the detached perspective of Modernism and it feels the need of a horizon in order to make its utopias a reality. Life in a city that Modernism seeks to keep under control is paranoiac in structure and the scene of deep collective anxieties.

Lucian Freud

Girl Holding Her Food, 1996, etching, 79 x 82 cm, collection Anne Berthoud, London

I want paint to work as flesh, I know my idea of portraiture came from dissatisfaction with portraits that resembled people, I would wish my portraits to be of the people not like them. Not having the look of the sitter, being them. As far as I am concerned the paint is the person. I want it to work for me just as flesh does.

Paul Georges

Awekening, 2000, oil on linen, 73.6 x 103 cm, Courtesy Salander-O'Reilly Gallery, NY

This painting came out drawing is important but not ultimately important. I have so color and the form comes from color which is its own subject. Ultımately painting is not just color or just drawing.

Catherine Howe

Jade Green with Egg, 2000, oil on canvas, 106.7 x 81.2 cm

In depicting various nymphs, Madonnas, saints and harlots from the fertile muck of the great masters figurative terrain, I may sow the seeds of my longing for self recognition. In their tragic / comic imperfections they are perfect mirror for my hybridized female desire.

Elke Krystufek

The Idea of Love, Dubai 1999, 180 x 140 cm, Courtesy Gandy Gallery, Prag

I belive that the way in which I depict my body also points to the experiences that my body has made in society and how the society deals with my body and with the female body in general.

Ariane Lopez-Huici

AVIVA, 1996, B/W Photograph, 79 x 117 cm

Why AVIVA?
In a time of growing uniformity of the female body through endless surgery I was attracted by the poetry of AVIVA imperfections.

Elizabeth Olbert

State Fair, 2001, mixed media on paper & vellum, 101.6 x 91.4 cm

I am currently engaged in producing a body of work describing the lives of rural people in northem New England. The titles of all paintings and drawings in this series are drawn from the popular of local plants, both indigenous and cultivated.

Orlan

Skai and Sky Video, 1983, Aluminum mounted cibachrome, 160 x 120 cm

I wish to get back to the question the breast. One breast not two. It is as you're aware like the Burgundian Saints before the baroque. And whether one chooses the Burgundian Virgin or the Ecole de Fontainbleau there is a as matter of fact never more than one breast.

Sam Samore

The Killers (#100), 1999, chromogenic print, 66 x 101.6 cm, Courtesy Galerie Anne de Villepoix Paris

I want to invent the emotional spiritual, physical (etcetera) narrative direction as my characters wander through their mise-enscene.

Jenny Saville

Closed Contact #16 1995-96, colour photograph and plexiglass, 156.7 x 156.7 x 171.1 cm

I always drawn to the body, Velazquez, Ruben paintings that involved flesh. Bacon especially and Soutine specifically the Soutine Carcass in Buffalo and his nude.

Carolee Schneemann

Fresh Blood-A Dream Morphology, 1983, Photo credit: Ginevra Portloch, Courtesy Elga Wimmer

In some sense I made a gift of my body to other women: giving our bodies back to ourselves. The haunting images of the Cretean bull dancers joyful, free, bare breased, skilled women leaping precisely from danger to ascendancy, guided my imagination.

Suzanne Wright

Gloria, 2000, Polyurethane, technicolor glitter, 25.4 x 30.5 x 55.8 cm

In my drawings, I like to create a ross section of anxiety. A landscape of nuclear power within a fantastical setting or with a statty night sky can provide perspective on fears. I think of these drawings as interiors, inside the body.