![]() In this way, Emmerich succeeds in making the act of looking truly provocative.Īlejandro Jiménez-Flores and Miguel JiménezĪlternative Education, Feminisms, & Radical PoliticsĬCA Wattis Institute for Contemporary ArtsĬolumbia Books on Architecture and the CityĬritical Anthropology & Post-Colonial StudiesĮmily Harvey Foundation, A. She depicts the paradox of simultaneous attraction and repulsion, intimacy and cool detachment, seduction, and critique. Inside the claustrophobic scenery of a fancy apartment in the city of Frankfurt three men and a woman lock themselves in for ten days. With Oskar Klinkhammer, Jana Sue Zuckerberg, Bastian Zimmermann, Benjamin Van Bebber. Referring to the visual language of advertising and Pop art, she creates images that both aestheticize and problematize the female body. The Great Ephemeral Skin: Directed by Benjamin Van Bebber, Bastian Zimmermann. Since 2016, Emmerich has worked with a new painting technique, using stencils cut from vinyl flooring, which she covers with oil paint and then impresses onto canvas, paper, or a wall. The sensuality of her painting resides not only on the surface of the (erotic) image but also in her refined use of colour and technical execution. Body and identity, the sensory and the sensual, the commodification of the erotic and the exotic: these are frequently recurring themes in Emmerich’s work. Under the titles, The Great Ephemeral Skin, Hadassah Emmerich (Heerlen, 1974) presents a new series of works whose central focus is the female body as object. ![]()
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