|
Photographic Work
Hannah Wilke is known for her photographic work of performances in which
she used her own body, and she established herself as both the artist and the subject of her work. Wilke created
"Hannah Wilke Super-t-Art" using 20 images from her 1974 live perfomance at the Kitchen, New York, and she created
the 1976 photographic triptych "Gestures," using stills from her 1974 videotaped performance. Wilke
coined the term "Performalist Self-Portrait" to describe photographic work she created and directed others to photograph, including
the 1975 "S.O.S. Starification Object Series," "I Object, Memoirs of a Sugar Giver,"1977, "So Help Me Hannah," 1978,
and "Intra Venus," 1993.
|
| Hannah Wilke: S.O.S.(Curlers),1975 Whitney Museum |
|
| Hannah Wilke Super-t-Art 1974 |
|
| Hannah Wilke: S.O.S. (Veil) 1975 |
|
| Hannah Wilke Monument, 1976 |
|
| Hannah Wilke: Gestures (1 of 3 in triptych) 1976 |
|
| Hannah Wilke: California Series, 1976 |
|
| Hannah Wilke: Marxism & Art, 1977 MOMA |
|
| Hannah Wilke: Cover of Appearances/ Arlene Hannah Butter, 1954-77 |
In 1977, Wilke created the diptych, "Appearances/Arlene
Hannah Butter," using an image taken by her sister in 1954 and the S.O.S. photograph of her that had been used on
the cover of the magazine, Appearances. Wilke used another S.O.S. photograph for her iconic 1977 political poster
and silkscreen work on plexiglas, "Marxism & Art." Wilke herself
was behind the camera in much of her work, such as "California Series,"1976, "Hannah Wilke Monument,"1976, and the images
of her mother in "Portrait of the Artist with her Mother, Selma Butter,"
"Seura Chaya," "Selma Butter," and "In Memoriam," all photographic work that Wilke created between 1978 and 1982
during her mother's long illness with cancer. Wilke also photographed the abstract images with text and photographs
of others she used in the photographic installation "Advertisements for Living, 1966-1984."
|
| Hannah Wilke: Portrait of the Artist with her Mother, Selma Butter, 1978-81 |
|
|
| Hannah Wilke: Seura Chaya #4, 1978-82 |
|
