Fairy tales, monsters, and the genetic imaginationOther(s) author(s) : Anker, Suzanne, [egile] ; Frist Center for the Visual Arts, [argitaratzaile]Language : EnglishNashville, Tennessee : Frist Center for the Visual Arts : Vanderbilt University, 2012XI, 119 orrialde : koloretako irudiak ; 28 cm(Ikus) Testua. (Ikus) Irudia (finkoa ; bidimentsiokoa): bitartekorik gabeISBN : 978-0-8265-1814-9.Fairy tales, monsters, and the geneytic imagination | Fantasy in art | "Fairy Tales, Monsters, and the Genetic Imagination" presentation | Exhibition
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"Fairy tales, monsters, and the geneytic imagination" erakusketaren katalogoa.
Catálogo de la exposición.
Partehartzaileak: David Altmejd, Suzanne Anker, Aziz + Cucher, Ashley Bickerton, Meghan Boody, Chapman Brothers (Jakie and Dinos Chapaman), Kate Clark, Marcel Dzama, Inka Essenhigh, Andre Ethier, Trenton Doyle Hancock, Mark Hosford, Walter Martin and Paloma Muñoz, Motohiko Odani, Patricia Piccinini, Paula Rego, tom Sachs, Allison Schulnik, Cindy Sherman, Yinka Shonibare, MBE, Kiki Smith, Amy Stein, Janaina Tschäpe, Charlie White, Saya Woolfalk (in collaboration with Rachel Lears).
Testuak: Suzanne Anker, Mark W. Scala, Martina Warner, Jack Zipes.
This catalog explores the psychological and social implications contained in the hybrid creatures and fantastic scenarios created by contemporary artists whose works will appear in the exhibition Fairy Tales, Monsters, and the Genetic Imagination, which opens at Nashville's Frist Center for the Visual Arts in February 2012. Curator Mark Scala's introductory essay focuses on anthropomorphism in the mythology, folklore, and art of many cultures as it contrasts with the dominant Western view of human exceptionalism. Scala also provides an art historical context, linking the visual fabulists of today to artists of the Romantic, Symbolist, and Surrealist periods who sought to transcend oppositions such as rationality and intuition, fear and desire, the physical and the spiritual.
Discussing how artists adapt traditional stories to give mythic form to the very real dilemmas of contemporary life, Jack Zipes's "Fairy-Tale Collisions" centers on Paula Rego, Kiki Smith, and Cindy Sherman. From a generation of women who have attained prominence since the 1980s, these artists alter fairy-tale imagery to subvert or rewrite social roles and codes.
In "Metamorphosis of the Monstrous," Marina Warner discusses works in the exhibition in the context of historical conceptions of monsters as expressions of alterity, bestiality, or sinfulness. Her reminder that contemporary monster images offer "a promise and a warning about the variety, heterogeneity, and possible combinations and recombinations in the order of things" sets the stage for Suzanne Anker's essay, punningly titled "The Extant Vamp (or the) Ire of It All: Fairy Tales and Genetic Engineering." Considering representations of hybrid bodies by Patricia Piccinini, Janaina Tschape, Saya Woolfalk, and others, which evoke imagined beings of the past as a way to envision the recombinant creatures that may lie in the future, Anker shows how artists explore the social, ethical, and future implications of biological design and enhanced evolution.
Accompanying an exhibition of contemporary art in which depictions of marvellous creatures and fantastic narratives provide both chills and delights, the essays in Fairy Tales, Monsters, and the Genetic Imagination explore the meaning of this fabulist revival through the lenses of social and art history, literature, feminism, animal studies, and science.