Lake’s oeuvre suggests a lifelong preoccupation with a number of key themes—society, gender, and universal experiences of power and authority—which she explores through a blend of performance, photography, and photographic manipulation.
Lake’s oeuvre suggests a lifelong preoccupation with a number of key themes—society, gender, and universal experiences of power and authority—which she explores through a blend of performance, photography, and photographic manipulation.
Decades before the “selfie” sparked a cultural paradigm shift, Suzy Lake (b.1947) changed the course of art history, taking up her camera and using it as a tool to investigate how we manufacture the self, often using her own body as a model to investigate issues of identity, gender, beauty, and aging.
Lake’s oeuvre suggests a lifelong preoccupation with a number of key themes—society, gender, and universal experiences of power and authority—which she explores through a blend of performance, photography, and photographic manipulation.
Decades before the “selfie” sparked a cultural paradigm shift, Suzy Lake (b.1947) changed the course of art history, taking up her camera and using it as a tool to investigate how we manufacture the self, often using her own body as a model to investigate issues of identity, gender, beauty, and aging.
In all nine works that make up the Transformations series, 1973–75, Lake begins with a set of self-portraits presented in a grid.
Lake’s oeuvre suggests a lifelong preoccupation with a number of key themes—society, gender, and universal experiences of power and authority—which she explores through a blend of performance, photography, and photographic manipulation.
Decades before the “selfie” sparked a cultural paradigm shift, Suzy Lake (b.1947) changed the course of art history, taking up her camera and using it as a tool to investigate how we manufacture the self, often using her own body as a model to investigate issues of identity, gender, beauty, and aging.
Lake’s oeuvre suggests a lifelong preoccupation with a number of key themes—society, gender, and universal experiences of power and authority—which she explores through a blend of performance, photography, and photographic manipulation.
While she was a student and an apprentice, Lake’s experience in art was in drawing, printmaking, and abstract painting. Once she purchased a camera, she became interested in the interplay between a performance (usually by herself) and the viewer’s perception of it, and in the way photographic devices could make this connection visible.
In all nine works that make up the Transformations series, 1973–75, Lake begins with a set of self-portraits presented in a grid.
Decades before the “selfie” sparked a cultural paradigm shift, Suzy Lake (b.1947) changed the course of art history, taking up her camera and using it as a tool to investigate how we manufacture the self, often using her own body as a model to investigate issues of identity, gender, beauty, and aging.
Re-Reading Recovery features Lake dressed in a thin cotton slip (a symbol of both vulnerability and protection), standing barefoot in front of a peeling green wall and amid a pile of debris. As she sweeps the broken drywall, she looks down at her broom, which appears blurred, as though in motion. She never makes eye contact with the camera.
Decades before the “selfie” sparked a cultural paradigm shift, Suzy Lake (b.1947) changed the course of art history, taking up her camera and using it as a tool to investigate how we manufacture the self, often using her own body as a model to investigate issues of identity, gender, beauty, and aging.
Lake’s oeuvre suggests a lifelong preoccupation with a number of key themes—society, gender, and universal experiences of power and authority—which she explores through a blend of performance, photography, and photographic manipulation.
Lake’s oeuvre suggests a lifelong preoccupation with a number of key themes—society, gender, and universal experiences of power and authority—which she explores through a blend of performance, photography, and photographic manipulation.
Decades before the “selfie” sparked a cultural paradigm shift, Suzy Lake (b.1947) changed the course of art history, taking up her camera and using it as a tool to investigate how we manufacture the self, often using her own body as a model to investigate issues of identity, gender, beauty, and aging.
Lake’s oeuvre suggests a lifelong preoccupation with a number of key themes—society, gender, and universal experiences of power and authority—which she explores through a blend of performance, photography, and photographic manipulation.
Decades before the “selfie” sparked a cultural paradigm shift, Suzy Lake (b.1947) changed the course of art history, taking up her camera and using it as a tool to investigate how we manufacture the self, often using her own body as a model to investigate issues of identity, gender, beauty, and aging.
Miss Chatelaine presents a grid of twelve portraits in which Lake is photographed in whiteface, with different hairstyles cropped from women’s magazines collaged onto her head.
While she was a student and an apprentice, Lake’s experience in art was in drawing, printmaking, and abstract painting. Once she purchased a camera, she became interested in the interplay between a performance (usually by herself) and the viewer’s perception of it, and in the way photographic devices could make this connection visible.
Lake’s oeuvre suggests a lifelong preoccupation with a number of key themes—society, gender, and universal experiences of power and authority—which she explores through a blend of performance, photography, and photographic manipulation.
Lake’s oeuvre suggests a lifelong preoccupation with a number of key themes—society, gender, and universal experiences of power and authority—which she explores through a blend of performance, photography, and photographic manipulation.
Composed of twelve large-scale colour photographs presented in sequence, Pre-Resolution: Using the Ordinances at Hand depicts Lake, dressed in a casual yellow sweater, blue jeans, and Nike running shoes, wielding a sledgehammer, with her back to the viewer and a slight smile on her averted face.
Re-Reading Recovery features Lake dressed in a thin cotton slip (a symbol of both vulnerability and protection), standing barefoot in front of a peeling green wall and amid a pile of debris. As she sweeps the broken drywall, she looks down at her broom, which appears blurred, as though in motion. She never makes eye contact with the camera.
In Authority Is an Attribute ... part 2, Lake created an installation with three components representing the stakeholders in a land-claim dispute between the Teme-Augama Anishnabai of Bear Island and the Ontario government.
Decades before the “selfie” sparked a cultural paradigm shift, Suzy Lake (b.1947) changed the course of art history, taking up her camera and using it as a tool to investigate how we manufacture the self, often using her own body as a model to investigate issues of identity, gender, beauty, and aging.
Beauty at a Proper Distance / In Song is a set of three images that are part of the large series Beauty at a Proper Distance, 2000–2008, in which Lake, who can no longer ignore her own aging body, mimics the visual codes and media of youth culture.
Lake’s oeuvre suggests a lifelong preoccupation with a number of key themes—society, gender, and universal experiences of power and authority—which she explores through a blend of performance, photography, and photographic manipulation.
In Forever Young, a series of three chromogenic prints of Lake playing guitar, dancing, and singing as she holds a microphone, the artist poses a question to the aging female body: “What can I do that Brittany Spears cannot do?”
Choreographed Puppets is a breakthrough piece in Lake’s development as an artist. Her previous series from the early 1970s, such as Miss Chatelaine, 1973, had explored issues of identity and appearance using a variation of a grid pattern.
Весь секрет молодости в том, что вы знаете свои природные особенности. Вам идет определенный тип одежды. С одним цветом волос вы выглядите свежее, чем с другим. То же и со стрижкой. Омолодить может только та прическа, которая подходит к вашему типу лица. Женщина с массивной нижней челюстью никогда не сделает открытую пикси. А дама с вытянутым овалом не станет удлинять его прядями по бокам. Рассказываем, какие прически помогут подчеркнуть природную красоту и выглядеть моложе. Круглое лицо — асимметричная стрижка Круглая форма подразумевает отсутствие четких контуров. Длина и ширина лица примерно совпадают. Лоб невысокий, скулы широкие. Поэтому основная задача стрижки — визуально вытянуть
Decades before the “selfie” sparked a cultural paradigm shift, Suzy Lake (b.1947) changed the course of art history, taking up her camera and using it as a tool to investigate how we manufacture the self, often using her own body as a model to investigate issues of identity, gender, beauty, and aging.
Decades before the “selfie” sparked a cultural paradigm shift, Suzy Lake (b.1947) changed the course of art history, taking up her camera and using it as a tool to investigate how we manufacture the self, often using her own body as a model to investigate issues of identity, gender, beauty, and aging.
This front tie blouse is perfect for creating an elegant and modern style. It features gathered waist and sleeves, a cropped length, and a sophisticated bishop sleeve. Get our free downloadable PDF…
You can easily enjoy more healthy dinners on your low carb diet with these amazing low carb high protein meals. These high protein meal ideas are perfect to help you eat more nutritiously on your weight loss journey.
Zucchinipuffer kalorienarm, gesund und fettarm zubereiten, damit sie sich zum Abnehmen eignen? Kein Problem! Unser Zucchini Puffer Rezept erfüllt genau diese Ansprüche und ist trotzdem ein mega leckeres Mittag- oder Abendessen.
Many stylish female leads have come and gone in TV land, but none of them have quite left their mark like Carrie Bradshaw. From the moment she appeared on screen women everywhere began to bow down to the one female that could truly pull off any…
Learn how easy it is to cook beets and make them delicious; discover their nutritional value and try them in a few new recipes.
Saftige Zucchinipuffer: Sie werden ohne Öl im Ofen zubereitet.
Browse the best selection of walk-in shower tile ideas and designs and make your bathroom more appealing. Tiled walk in shower ideas for every style and taste.
These crispy baked chicken cutlets are packed with incredible flavor and they have the most amazingly delicious, golden crust that is so good! Make them in under 30 minutes for an easy weeknight meal the whole family will love!
