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Hannah Wilke (* 1. März 1940 in New York, NY; † 28. Januar 1993 in Texas) war eine US-amerikanische Künstlerin und Feministin. Inhaltsverzeichnis. 1 Biographie. 2 Künstlerisches Werk. 3 Ausstellungen (Auswahl) 4 Öffentliche Sammlungen. 5 Auszeichnungen. 6 Literatur. 7 Weblinks. 8 Einzelnachweise. Biographie [ Bearbeiten | Quelltext bearbeiten]
Hannah Wilke (born Arlene Hannah Butter; (March 7, 1940 – January 28, 1993) was an American painter, sculptor, photographer, video artist and performance artist. Wilke's work is known for exploring issues of feminism, sexuality and femininity.
- NEA Grants in sculpture and performance, Guggenheim Grant for sculpture
- American
- Stella Elkins Tyler School of Fine Art, Temple U, Philadelphia
Hannah Wilke was a conceptual and performance artist who explored themes of femininity, sexuality, and identity. She created works such as Untitled (1967), In the Doghouse (1973), and Hello Boys (1975), and participated in exhibitions at MoMA and MoMA PS1.
Hannah Wilke was a pioneer of performance and photographic art that challenged the male gaze and celebrated female sexuality. Learn about her life, works, and legacy on artnet, where you can find her artworks for sale and auction.
- American
Learn about Hannah Wilke, an American artist who used her own body and ephemeral materials to challenge stereotypes and objectification of women. Explore her paintings, performances, videos, and sculptures that explore female identity, sexuality, and postmodernism.
- American
- March 7, 1940
- New York City, USA
- January 28, 1993
A career-spanning exhibition of the American artist Hannah Wilke (1940–93), who created innovative and provocative art to affirm life and challenge gender inequality. The exhibition features sculpture, photography, video, drawing, and performance from the 1960s to 1993.
20. Okt. 2021 · A review of Hannah Wilke's retrospective at the Pulitzer Arts Foundation, which explores her practice of living and making art as one. The article focuses on her use of the fold as a gesture of paradox, pleasure, and feminized labor in her sculptures and performances.
