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Columns series, Right Sword, Left Garland.
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Columns series, Right Sword, Left Garland.
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Description
Larger Image
Larger image may be viewed by UofL faculty, staff, and students only (log-in required using ULink username/password) at:
http://echo.louisville.edu/login?url=http://vrc-web.louisville.edu/Jpegs/820/827-31.jpg
Title
Columns
series
,
Right
Sword
,
Left
Garland
.
Creator
Kulik, Zofia (Polish artist)
Date
1992
Cultural Context
Polish
European
Theme
Montages (visual works)
Photomontages
Photographs
Series (groups)
Patterns (design elements)
Figurative art
Figures (representations)
Men (male humans)
Women
Costume (mode of fashion)
Nudity
Heads (representations)
Heads (animal or human components)
Faces (animal or human components)
Skull (skeleton component)
Crosses (motifs)
Flags
Motifs
Symbols
Symbolism (artistic concept)
Iconography
Power
Subject
Montages
Photographs
Motion study photographs
Patterns (Design elements)
Men
Women
Clothing & dress
Heads (Anatomy)
Faces
Skulls
Crosses
Flags
Symbols
Power (Social sciences)
Description
"
Between
1970
and
1987
Zofia
Kulik
carried
out
performances
in her
native
Poland
with
fellow
artist
Przenyslaw
Kwick
. Her
more
recent
photographic
works
contain
a
'time-based'
aspect
in that,
rather
than
constituting
montages
made
up
from
separate
images
, they
consist
of
images
built
up
over
time
on a
single
sheet
of
paper
,
using
a
painstaking
process
involving
stencils
and
techniques
of
masking
. Her
works
normally
deal
with the
iconography
of
power
,
whether
linked
to
state
or
church.
"
(Caption
,
p.236)
; "In
elaborately
constructed
photo-works
she
explored
images
of
masculinity
,
fetishistically
juxtaposing
naked
men
in
heroic
or
martyr-like
poses
with
military
and
religious
emblems
, and
thereby
interrogating
the
peculiar
gender
archetypes
produced
through
the
overlaying
of
official
Communist
iconographies
onto
residual
Polish
Catholic
ones
. Her
works
have
superficial
similarities
to
works
by the
British
artists
Gilbert
and
George
, but their
thematic
premises
are
fundamentally
different
. In the
1990s
Western
European
art
happily
assimilated
practitioners
who
spoke
its
specialized
language
but, as with
Kulik
,
many
artists
from
former
Communist
countries
were
concerned
with
reconciling
indigenous
iconographies
with
late
modernist/postmodernist
forms
, and
thus
were
skeptical
about
the
West's
relatively
deracinated
artistic
practices.
"
(Excerpt
,
pp.233
,
236)
Material
Stencils (tools)
Photographs
Measurements
300 x 850 cm
Technique
Montage (image-making technique)
Stenciling
Masking
Photography
Photographic processes
Photographic techniques
Work Type
Montages
Photomontages
Source
Hopkins, David. After Modern Art: 1945-2000. Oxford History of Art. Oxford; New York: Oxford UP, 2000. (pp.236-237, fig.125)
Rights
Photograph reproduced in Hopkins courtesy of the artist.
Digital Publisher
University of Louisville Department of Fine Arts/Allen R. Hite Art Institute Visual Resources Center
Format
image/jpeg
Digital File Name
VRC
827-31.jpg
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