Aesthetic Ambivalence by raaycho

Aesthetic

Contents

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FOREWORD INTRODUCTION THE UNCANNY IN NEW MEDIA ART INTERVIEW WITH RON MUECK INTERVIEW WITH KATE CLARK CAO HUI KATE CLARK CINDY SHERMAN COOL 3D WORLD HANS BELLMER RON MUECK EXHIBITION HISTORY ARTISTS' WORKS BIBLIOGRAPHY COLOPHON

8 10 22 38 42 40 70 90 112 134 152 174 184 200 202

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Foreword

A A E E S S TT H H E E TT II C C A A M M B B II V V A A LL E E N N C C E E

The uncanny, a thing described by Freud as ‘that class of the frightening which leads back to what is known of old and long familiar. Why would ‘old and long familiar’ things ever be frightening, you may well ask? Freud puts together a somewhat more comprehensive summary of the term towards the end of his essay, stating: In the first place, […] among instances of frightening things there must be one class in which the frightening element can be shown to be something repressed which recurs. […] In the second place, if this is indeed the secret nature of the uncanny, we can understand why linguistic usage has extended das Heimliche [‘homely’] into its opposite, das Unheimliche [‘uncanny’]; for this uncanny is in reality nothing new or alien, but something which is familiar and old-established in the mind and which has become alienated from it only through the process of repression. According to Freud, repression is the basis of a great deal of anxiety, and in the case of the uncanny, it is precisely the return of this repressed thing that causes fear. Basically, then, for some of the things we are afraid of, we don’t actually fear them because we don’t recognize them, or because they are completely alien, but rather because we can actually link them to something very familiar, that we can’t quite put our finger on. That makes us uncomfortable. There is no question therefore, of any intellectual uncertainty here: we know now that we are not supposed to be looking on at the products of a madman’s imagination, behind which we, with the superiority of rational minds, are able to detect the sober truth; and yet this knowledge does not lessen the impression of uncanniness in the least degree. The uncanny lies in the realm of the frightening and evokes both fear and dread. Though the uncanny is not clearly definable, because it relies on a personal experience. The uncanny draws its power from the repressed and the unconscious. It doesn’t fit within what the rational mind knows, but can’t be shaken off so easily. It is rationally familiar, yet still eerily unfamiliar. Aesthetics and Psychoanalysis are merged here. The uncanny is the subject of aesthetics. Why? Because it has to do with a certain kind of feeling or sensation, with emotional impulses. But in general aesthetics has neglected to study the uncanny, preferring to concentrate on beauty and, generally, on more positive emotions: the attractive, the sublime, etc. The uncanny is something fearful and frightening, and as such it has been neglected in the history of aesthetics. But Modernism marks a turn in aesthetics in general toward a fascination with the ugly, the grotesque: a kind of “negative” aesthetics. Freud’s essay makes a contribution to this supplement to the aesthetics of the “beautiful” by examining what we might call the aesthetics of the “fearful,” the aesthetics of anxiety.

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Introduction

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Though an emotion that is recognisable as predominant in other historical periods, the cultural recognition conferred to fear today is betrayed by definitions such as “risk society,” “age of anxiety” and “culture of fear.” (2) The arts’ response to this climate concerns both the private and social spheres. It voices the experience of political threat and violence, and the sense of individual and collective anxieties. Paradigmatic are artworks that comment directly on the current political situation, engaging with issues such as terrorism. Yet, also significant are those works that explore the impinging anxieties that reverberates in everyday life, turning the domestic into menacing landscapes. My endeavour is to consider the fear of the ordinary, the menace that inhabits the quotidian, as contemporary figurations of the uncanny by artists as diverse as Gregor Schneider, Mona Hatoum, Marko Mäetamm and Shona Illingworth. The aim is to investigate the pervasiveness of fear and locate the visual arts engagement with this emotion to unravel the broader socio-cultural implications of the unheimlich as the currency of contemporary experience. At the beginning of his seminal essay, Freud refers to the uncanny as an aesthetic category, as “the theory of the qualities of feeling.” (3) Freud draws attention to the etymological ambiguity of the term unheimlich. Heimlich, which refers to what is familiar and well known, also means what is secret and mysterious thus ambiguously hinting at its opposite, unheimlich—what is occult, eerie, and unknown. Re10

(2) See Sarah Dunant and Roy Porter eds., Age of Anxiety (London,UK: Virago Press, 1996); Ulrich Beck, Risk Society: Towards a New Modernity (London,UK: Sage Publications,1992); Furedi, Culture of Fear. (3) Sigmund Freud, “The Uncanny,” (1919) in Collected Works, vol. 14 (London, UK: Penguin, 1990), 339. (4) Ibid., 339 and 340. (5) Ibid., 367. (6) Jean-Luc Nancy, “Uncanny Landscape,” in The Ground of the Image, trans. Jeff Fort (New York: Fordham University Press, 2005), 51-62, 59-60. (7) See Terry Castle, The Female Thermometer: Eighteenthcentury Culture and the Invention of the Uncanny (Oxford: Oxford University Press, 1995).

lated to “what is frightening – to what arouses dread and horror” and to “what excites fear in general,” Freud suggests that “The uncanny is that class of the frightening which leads back to what is known of old and long familiar.” (4) This inherent tension between known and unknown is played out as a disturbing experience of repressed material of the mind that represents itself in an alien and frightening form. Freud describes the uncanny effect “as when the distinction between imagination and reality is effaced, as when something that we have hitherto regarded as imaginary appears before us in reality, or when a symbol takes over the full functions of the thing it symbolizes.” (5) The uncanny happens as a blurring of reality at the erosion of the boundaries between the real and imagination. Examples in Freud include tales by the German romantic writer E.T.A. Hoffman, and artefacts, such as wax models, suggesting a convergence between the psychoanalytical dimension of the uncanny and the imaginary, whether fictional or visual. Hence, Jean-Luc Nancy recognises the uncanny as a trait of landscape painting, as the representation of space that “opens to the unknown,” as a depiction of “dislocation,” of strangeness and estrangement. (6) Historically recognised as ingrained in late eighteenth and early nineteenth century sensibility, the uncanny is a cipher of the Gothic whose expressions betrayed hidden anxieties. (7) “The internalisations of Gothic forms reflected wider anxieties which, centring on the individual, concerned the nature of reality and society and its relation to individual freedom and imagina11

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tion.” (8) Though the encounter with otherness characteristic of colonialism encompassed the uncanny as a socio-cultural as well as psychological trait, it is however with modernity and post-modernity that the uncanny becomes central to the critical analyses and experience of everyday life.

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“Modernity and post-modernity share similar, yet different anxieties—the uncanny gives us ways of thinking about the interrelationship of both; the dopplergänger and automaton haunted modernity, for example, while clones and techno-human cyborgs haunt us.” (9) Explored in cinema, literature, architecture and the visual arts, the uncanny surfaces as a recurrent theme in artworks by artists from different background and working in various media, as a quality of the contemporary and a critical tool to reflect upon it, especially in relation to issues concerning notions of space, subjectivity, and reality. (10) Two neighbouring houses in East London show the same ordinary façade. Inside they look alike. The decoration is the same; similar objects are scattered around, some may belong or have belonged to a child. The apparent ordinariness of the exterior disguises a sinister atmosphere. The “familiarity” of the interiors, so perfectly duplicated, conveys a sense of displacement and of claustrophobic apprehension. The likeness of the inhabitants is also remarkable, as is their behaviour, even in the most mundane acts. Who are the people who live in these houses? What is the se12

(8) Fred Botting, Gothic (London, UK and New York: Routledge, 1996), 10. (9) Michael Arnzen quoted in Nicholas Royle, The Uncanny (London,UK and New York: Manchester University Press, 2003), 37. (10) See Anthony Vidler, The Architectural Uncanny: Essays in the Modern Unhomely (Cambridge Mass.: MIT Press, 1996); Slavoj Zizek, Enjoy Your Symptom! Lacan in Hollywood and out (New York: Routledge, 2001). (11) The project was commissioned by Artangel (October 2004), www.artangel.org.uk. (12) Jean Baudrillard, Simulacra and Simulation, trans. Sheila Faria Fraser (Ann Arbor: University of Michigan Press, 1994),1-7.

cret that they hide? We, the visitors who have let ourselves in (literally by being given the key), are the intruders. We are the strangers in the scene. This is not the description taken from a textbook on the uncanny, but rather that of an art project by the artist Gregor Schneider, Die Familie Schneider (2004). (11) The work is indicative of the artist’s practice that focuses on space as what may be defined as a dimension of the contemporary sensibility of the uncanny, explored through the duplication and replica of existing places. In a more recent work, Weisse Folter (2007), the artist built a series of corridors and small rooms, clinically pristine yet chillingly disturbing. The reference to secure wards is evident in the title that hints to the methods of “clean torture.” Schneider’s works can be read as powerful and disturbing simulacra (in Jean Baudrillard’s definition as the convergence of reality and fiction) that, by challenging the neutrality of surfaces, the ordinariness of appearances, render palpable the psychological, social and political dimension of space as a place of fear. (12) Real and imaginary at the same time, actual places and artefacts, Schneider’s artworks pose the unknown as a dimension of today’s experience and in so doing map the uncertain territory of the contemporary condition of fear. Both psychoanalytically and culturally, the notion of the uncanny is increasingly inscribed within a discourse that invests estrangement, alienation and the other. Julia Kristeva poignantly underlines the experience of strangeness and depersonalisation as inte13

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gral to the construction of contemporary subjectivity. Kristeva focuses on the immanence of the uncanny as the individual experience of otherness, and analyses the fragility of the boundaries that construct the self as constant confrontation with the other in the tension between identification and rejection. “The uncanny experience of strangeness allows for many variations: they all repeat the difficulty I have in situating myself with respect to the other and keep going over the course of identification-projection that lies at the foundation of my reaching autonomy.” (13) This manifests itself in terms of both individual subjectivity and of cultural and political identities, as a condition of social, racial and intellectual displacement. For artists, such as Mona Hatoum, whose experience of exile is central to their artistic practice, this often translates in subverting domesticity and domestic security by turning homely objects into dangerous and haunting artefacts: soaps or carpets with pins (Nablus Soap, 1996; Door Mat, 1996), oversize kitchen tools (La Grande Broyeuse—Mouli-Julienne, 2000; Grater Divide, 2002), or dysfunctional beds (Webbed, 2002). Hatoum’s work expresses the disorientation of exile and dislocation of homelessness through unsettling metaphors of entrapment, disempowerment and displacement that resonate with the experience of many minorities. (14) Her work merges gender and socio-political concerns, evoking an experience of alienation that is both highly individual and collectively recognisable. The role and position of the subject in relation to the experience of fear, as one of estrangement and alien14

(13) Julia Kristeva, Strangers to Ourselves, trans. Leon S. Roudiez (New York: Columbia University Press, 1991), 187. (14) See Gannit Ankori, Palestinian Art (London,UK: Reaktion Books, 2006), 121-54. (16) www.maetamm.net (17) The work was part of the project Artists’ Studio (November-December 2006), www.artistsstudio.org. Mäetman represented Estonia at the 52nd Venice Biennale with the artwork Loser’s Paradise. (18) Royle, The Uncanny, 1.

ation, also regards the role and the position of the artist in society and in the increasingly global art market, as a critique of the predominant political, social and cultural forces that dominate much of contemporary experience. Similar concerns also resonate in the work of the Estonian artist Marko Mäetamm who creates haunting narratives and visions that interrogate the inadequacy and impotence of the artist visà-vis the current political situation in regions such as Chechnya, and the demands of mainstream art market. Mäetamm merges the ordinary and the macabre. Children toys show unsettling remainders of death and torture, nursery rhymes evoke nightmarish visions of violence and fear (Song Spooky Wooky Wood). (16) The story of an Estonian artist who is torn between art and the demands of survival for himself and his family gradually unfolds in dark imagery of death. The work exploits the circularity of a narrative that hauntingly iterates itself. (17) This produces alienation and disturbance, questioning assumed relations between centre and periphery, and the effect of action. As Nicholas Royle remarks, the uncanny can be read as a crisis of the defining categories of reality (of what is natural and proper), and as an experience of liminality that exposes the crisis of borders and frames. (18) The artist’s feeling of inadequacy thus translates into a critique exposing implicit power relations, the isolation of the subject in contemporary societies and the erosion of stable notions of the self, both in the private and public spheres. 15

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The uncanny frightening experience calls into question subjectivity as the relation of the self with the external world. However it also threatens the individual internal balance. This acquires special significance when considered in relation to experiences of trauma both individually and collectively. “Massive trauma applies to any society, ethnic group, social category or class which has been exposed to extreme circumstances of traumatization, such as natural disasters, technological catastrophes, and social, political, cultural, gender, ethnic or religious persecution, that leave them with life-long problems.” (19) Trauma memories mar the subject’s experience with their latent presence threatening to erupt unexpectedly with their harrowing content. In the video and sound installation, The Watch Man (2007) the artist Shona Illingworth explores the traumatic memories of an elderly man who witnessed the horror of a concentration camp when it was liberated at the end of the Second World War. Shown on a circular screen reminiscent of the lens through which the man looks into the mechanisms of watches and clocks, the video focuses on the prosaic rituals of daily routine through intimate closeups. The extended black and white shots linger on surfaces and details, as if following the man’s gaze. The narrative is however interrupted by colour images of a forest, dark leaves, a pale silhouette, flocks of crows and the sky. The perspective changes and under the surface of daily gestures we look inside another time. The voice of 16

(19) Marcelo M. Suárez-Orozco and Antonius C.G.M. Robben, “Interdisciplinary Perspectives on Violence and Trauma,” in Antonius C.G.M. Robben and Marcelo M. Suárez-Orozco eds., Cultures under Siege: Collective Violence and Trauma (Cambridge: Cambridge University Press, 2000), 1-41, 24. (20) As the artist comments, the man in the video “was a 19 year old British soldier who was sent to the camp to assist where possible, without any preparation for the scenes he would witness there and the effect was devastating. When he returned from the war nobody wanted to hear about his experience so he like many others was left to cope alone and internalised his trauma. . .”, email conversation with the artist, March 23, 2007. (21) For a discussion of the uncanny in traumatic memories for the individual and society at large, see Yolanda Gampel, “Reflections on the Prevalence of the Uncanny in Social Violence,” in Robben and Suárez-Orozco eds., Cultures under Siege, 48-69.

the man, deliberately interrupted, recounts fragments of his recollection and acts as a counterpoint to the sounds that resonate through and across the floor pulsating in the gallery space. The man’s story and history ambiguously and implicitly condense. (20) The artwork captures the uncertainties of what is reality, the disturbance of narrative as a coherent and orderly construct, the latent enveloping presence of haunting memories and their impact on the ongoing experience of life. The intimate gestures of the Watch Man, who pierces through his lens in the mechanisms of time trying to keep the past at bay, becomes a metaphor for the frailty of existence and for the defining quality of the past. Trauma memories disrupt the narrative flow of actions and words through which the self constructs itself. The story reveals the ghost of history that bears on trauma memories, conveying the isolation and loneliness of a private experience that relives itself, removed and in contrast to the public spectacle of the actual event, often long past, sometimes forgotten. (21) The precariousness of boundaries evinced by the uncanny is indicative of its being “a quality of the frightening.” According to the sociologist Sara Ahmed, “[Fear] does not involve the defence of borders that already exist; rather fear makes those borders by establishing objects from which the subject in fearing can flee. Through fear not only is the very border between the self and other affected, but the relation between the objects that are feared... is shaped by 17

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histories that “stick”, making some objects more than others seem fearsome.” (22) Hence, fear affects the subject’s relation to the world, exposing its vulnerability to possible danger, constantly present, constantly undermining security, assertion, and certainty, constantly reminding one of the possibility of loss and death. In engaging with fear and the experience of the uncanny the arts also reflect on the relationships that can be established with the audience, unsettling our experience as viewers. As visitors, we are “affected” by artworks that subtly subvert the familiar, and confronted with their alienating otherness. This implies entering the fright of the experience. Fear, as Joanne Burke observes, is fundamentally an emotion “about the body—its fleshiness and precariousness.” (23) Through artworks that subtly evoke and represent the menacing feeling of reality, the visual arts also question our position as audience. Paraphrasing Ahmed, these artworks “stick” through their disturbing presence and their critical insight, offering perspectives on the relationship between the individual and current social and political experience, raising questions about the interpretation of reality and about the role of the arts as a means of interpretation of the content and forms of contemporary fear. They offer us insight in the precariousness of boundaries, the histories and rhetoric that shape contemporary anxieties. To conclude, Zygmunt Bauman constructs present fears according to a pervading metaphor of liquidity that defines contemporary life as free-floating and 18

(22) Sara Ahmed, The Cultural Politics of Emotions (London,UK : Routledge, 2004), 67. (23) Joanna Burke, Fear: A Cultural History (London, UK: Virago, 2005), 7. (24) Zigmunt Bauman, Liquid Fear (Cambridge: Polity Press, 2006), 133. (25) Id., Modernity and Ambivalence (Cambridge: Polity Press, 1991), 7.

unanchored. (24) This is reflected in the complex, idiosyncratic images that explore the uncanny as the underpinning character of contemporary experience. Moving beyond the contemporary malaise of panic, the artists considered variously engage and challenge the audience to confront the meanings and values ascribed to security, and the social and political relevance of order as regulator of normality. “The other of order is a miasma of the indeterminate and unpredictable. The other is the uncertainty, that source and archetype of all fear”. (25) In exploring “the other” of what seems ordinary and familiar, artists engage with the uncanny that pervades contemporary cultures, unravelling its symptomatic presence charged with social, political and cultural as well as psychological connotations. As a meta-discourse that moves across other discourses, the uncanny is both means and form for questioning reality and exploring displacement. From different perspectives and through different media, the artworks examined expose the fissures of contemporary life and elaborate on the displacement inherent to the experience of the uncanny. I N T R O D U C T I O N

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Discussing examples in which the dimension of the uncanny adds an aesthetic ambivalence.

The Uncanny in New Media Art

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[2] “Der Doppelgänger”, 1914

In his 1919 essay “Das Unheimliche”, Sigmund Freud discusses the concept of the “uncanny”, and why it is that certain objects, phenomena and situations arouse in us a feeling of uncanniness, while other, almost similar objects, phenomena and situations, don’t [2]. As a figure, he explains, the uncanny is double and ambivalent: the German term from which it originates is das Unheimliche, literally translating to “the unhomely”. It is a negation of the German Heimlich, homely, which implies the home-like, cosy, familiar. Being the negation of this term it can never occur independently of it: the uncanny thus needs an element of the homely, known, and familiar in it in order to be experienced as uncanny. It never represents an entirely new situation, but always involves an element of something previously thought or experienced, which 22

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has later been repressed. In psychoanalytical terms “an uncanny experience occurs either when infantile complexes which have been repressed are once more revived by some impression, or when primitive beliefs which have been surmounted seem once more to be confirmed.” Put more simply, “an uncanny effect is often and easily produced when the distinction between imagination and reality is effaced, as when something that we have hitherto regarded as imaginary appears before us in reality, or when a symbol takes over the full function of the thing it symbolizes, and so on.” Freud starts his discussion by referring to a previous essay on the uncanny written by Ernst Jentsch [1], in which Jentsch connects the uncanny to intellectual uncertainty, in particular to “doubts whether an 23

apparently animate being is really alive, or conversely whether a lifeless object might not in fact be animate.” Although Freud agrees that such experiences may arouse feelings of uncanniness, he denies that intellectual uncertainty is a primary factor behind the uncanny. The recurrence of something repressed is required in order for a situation to be experienced as uncanny, he maintains: without such it can merely be frightening. So when uncertainty as to whether a doll may in fact be alive is experienced as uncanny, this can be traced back to the repressed, infantile desire for our toys to become alive, and when we find dead bodies uncanny, uncertain as to whether or not they really are dead, this is a remnant of a once-optimistic belief in animism, characteristic of a more primitive stage in our development. Interestingly, another

U N C A N N Y I N N E W M E D I A [1] “Zur Psychologie des Unheimlichen”, 1906.

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figure that is often seen as uncanny, the figure of the double, was also originally friendly. According to a seminal essay on the subject by Otto Rank [2], the function of the double was originally as an insurance against extinction. “Such ideas, however, have sprung from the primary narcissism which dominates the mind of the child and of primitive man. But when this stage has been surmounted, the ‘double’ reverses its aspect. From having been an insurance of immortality, it becomes the uncanny harbinger of death” [2:357]. In particular, it is Jentsch’s analysis of the uncanny in E.T.A. Hoffmann’s story “The Sandman” [4] that motivates Freud’s discussion. Jentsch here connects the uncanny to uncertainty regarding the nature of Olympia, a mechanical doll with which Nathaniel, the main protagonist, falls in love. Nathaniel does not realise that Olympia is a doll until a scene where her two creators quarrel over her, and one of them in anger tears out both of her eyes. According to Freud, however, it is not intellectual uncertainty but rather the idea of being robbed of one’s eyes that causes the uncanniness in this scene, as losing one’s eyes is a fear typically connected to the castration complex. In Freud’s analysis Olympia here represents Nathaniel’s female double, so that the scene becomes a representation of Nathaniel’s imagined castration by his father. As shown in Jane Marie Todd’s excellent analysis of Freud’s essay [15], however, Jentsch’s focus on the uncertainty surrounding the status of Olympia has after all the same implications as Freud’s insistence on the castration complex being the cause of the uncanny in this scene. In fact they are two sides of the same coin: “Freud dismissed Jentsch’s theory of the Unheimliche even though, as we shall see, it, too, comes back to the question of castration. In ‘Analysis of a Phobia in a Five-Year-Old Boy’, he wrote that

the child, little Hans, ‘had got hold of an essential characteristic for differentiating between animate and inanimate objects.’ In Hans’s words, ‘a dog and a horse have widdlers (Wiwimacher); a table and a chair haven’t’ (10:9; ‘to widdle’ is British colloquial for ‘to urinate’). This formulation is not a peculiarity on little Hans’s part. According to Freud, all children (male and female) believe that every living being has a penis, unless it has been punished by castration. So that Jentsch’s theory of the Unheimliche, the uncertainty whether a creature is animate or inanimate, becomes indistinguishable from Nathanael’s horror when he sees Olympia ‘castrated.’ It is the loss of her eyes that makes of Olympia a creature less than human, and Freud had already set up the link between the eye and the penis. He was too quick to dismiss Jentsch’s theory as inessential: Nathanael’s castration complex reaches its crisis when he realizes that Olympia is inanimate, that is, when he sees that she has lost her eyes.” Todd points out the social significance of the castration of Olympia, as her being “denied life, power, and autonomy, all symbolized by the eye/ penis. By passing over the theme of the doll Olympia, Freud failed to see the social meaning of castration,” she writes. Her feministic reading also reveals other blind spots in his analysis, concerning the power of the female gaze: Once he mentions, without further pursuing, an episode in which the power of the female gaze gives life to inanimate objects. He also gives an example in which the female gaze is recalled as uncanny, where he has lost his way in an Italian provincial town and involuntarily returns three times to the same street where “nothing but painted women were to be seen at the windows of the small houses.” “Freud”, writes Todd, “who, by his own account, rarely felt this unheimlich sensation, felt the inescap24

able gaze of these painted women (human dolls?) and felt helpless. Under their gaze, Freud is reduced to a mechanical repetition that he cannot control.” As Jentsch’s theory of the uncanny fails to satisfy a psychoanalytical explanation of the phenomenon, Freud decides to ignore it, but admits that he may be wrong in doing so. While he feels certain that his own, psychoanalytical theory will account for all real-life encounters with the uncanny, he admits that in the field of aesthetics, especially in fiction, there might be other elements determining the production of uncanny feelings. Basing his theory partly on examples from fiction, on the other hand, is problematic as “a great deal that is not uncanny in fiction would be so if it happened in real life; and […] there are many more means of creating uncanny effects in fiction than there are in real life.” New media art shares these characteristics, having still more means to create uncanny effects than those available to fiction media at the time Freud’s essay was written. My concern in this paper, however, is not to contribute to a general theory of the uncanny, but rather to examine specific aspects of the uncanny that are made available to us through new media art, in order to show how these genres expand our field of aesthetic experience. Previous research on media and the uncanny has addressed the uncanniness of confronting one’s double, either on screen [1] or on the phone [10], as well as notions of modern media as haunted, functioning like the spiritual media of the past transmitting messages from the other side [12]. Such notions have been explored also in media art, for inStance by Susan Hiller in her video installation Belshazzar’s Feast from 19834, or by Susan Collins’s pixel-by-pixel transmission from a haunted house in The Spectrascope (2004), both shown at the “Haunted Media” exhibition at the Site Gallery in Sheffield in 2004 [3]. 25

In order to come closer to an understanding of how uncanniness is involved in our reception of this type of new media art works, I will examine the works in the light of three analytical concepts, derived from the previous discussion of Freud’s essay on the uncanny. These concepts are intellectual uncertainty, the double and surveillance/control. “Intellectual uncertainty” refers to Jentsch’s assertion that the uncanny is primarily connected to insecurity, in particular concerning an object’s status as animate or inanimate. Insecurity in general, however, is also thought to be a fertile ground for the uncanny. The concept of “the double” refers to the Doppelgänger motif previously discussed, whereas “surveillance/control” refers to the gaze, and the idea that attributes power and autonomy to the one who is in control of the gaze. The concept of “the uncanny valley” will also be introduced and discussed in relation to some of the works. The choice of analytical concepts reflects the genres of new media art that I find particularly intriguing in terms of the uncanny: telepresence, artificial intelligence (AI), artificial life and robotics. These are genres which seem especially well-suited for uncanny encounters. Telepresence because of the surveillance aspect, subjecting us to the invisible gaze of an unknown other; artificial life and robotics because of the potential uncertainties they may cause as to their status as autonomous (“living”) beings. Interestingly, AI-based works seem to be less likely to produce uncanniness than works based in artificial life, their autonomy is often less convincing.

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[7] http://www. stanford.edu/class/ hitory34q/readings/ Orlan/Orlan2.html [23.07.2007]

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THE UNCANNY VALLEY In 1970 the Japanese roboticist Masahiro Mori introduced a hypothesis about the relationship between robots and uncanniness which he called “The Uncanny Valley.” He had discovered that the more human-like features a robot displayed, the more familiar it will appear to us, and the more positive our attitude towards it – up to a certain point, where attraction is replaced by repulsion. As we can see in Figure 1, in which the phenomenon is visualised, the valley can be understood as a line of demarcation between artificial and real life. As long as this line is not crossed, we are usually happy to invest empathically in the artificial object, projecting human features onto it such as desires, thoughts and emotions, magnifying its humanity and blissfully ignoring its machinic nature. As long as the object is obviously machinic, yet 26

FIGURE 1 THE UNCANNY VALLEY

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seductively human-like, this is our response. When its truemachinic nature is less obvious, however, the fact that it is not quite human will demand our attention and disturb our empathic identification with it. As the illustration shows, adding movement to an object will generally exaggerate our attraction to it if it is situated outside of the valley, as well as magnifying our disgust against it if it is situated inside the valley. This is because movement generally is a sign associated with (real) life. Mori explains: â&#x20AC;&#x153;For the industrial robot, the impact of movement is relatively slight because we see it as just a machine. If it stops moving, it just stops working. But if programmed properly to generate humanlike movements, we can enjoy some sense of familiarity. Humanlike movement requires similarity of velocity 27

and acceleration. Conversely, if we add movement to a prosthetic hand, which is at the bottom of the uncanny valley, our sensation of strangeness grows quite largeâ&#x20AC;? [7].

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FIGURE 2 ONE OF WALTER’S TORTOISES

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W. Grey Walter’s tortoise-like robots Elmer and Elsie (ELectroMEchanical Robot, Light-Sensitive) from 1948/49 can serve to illustrate the importance of movement and behaviour to our perception of what is lifelike (Figure 2).

[5] http://www.ias. uwe.ac.uk/Robots/ gwonline/gwonline. html [23.07.2007] Copyright © University of the West of England, Bristol. [6] http://www.raaf. org/projects. php?pcat=1&proj=5&sec=images [23.07.2007] [11] http://www. kenrinaldo.com [23.07.2007] Copyright © 2004 Ken Rinaldo

THE UNCANNY IN NEW MEDIA ART Judged from their physical appearance only, the robots’ resemblance to tortoises is limited to the transparent shell representing their “back” and protecting the crude machinery (although by no means hiding it). What really makes them lifelike, and makes us associate their appearance with an existing species, is their behaviour. Walter created the robots to test an idea of his, that human intelligence and complex behaviour have less to do with the number of brain cells we possess than with the various connections between them. Thus, Elmer and Elsie were given only two electronic brain cells each, but with a number of different connections between them [5]. (In comparison, a human brain consists of ten billion brain cells.) Despite this modest number of brain cells, however, the behaviour of Elmer and Elsie was quite impressive. In a manner similar to moths, they were attracted to light, and were able to locate and approach light sources in their environment. If they met obstacles, they would either push them away or find a way round them, and when their battery became low, they would return to their hutch to recharge. Fully charged, they would set out to explore the world again [5]. The behaviour of Elmer and Elsie proved Walter’s hypothesis that even very simple brains in interaction with the environment are able to generate complex and unexpected behaviour. For instance, when both Elmer and Elsie were equipped with a lamp on top of their shell, they would approach and circle around each other, creating an impression of engaging in “social behaviour” [11]. The astonishingly lifelike behaviour of the tortoises apparently appealed to people, and received a lot of attention from the press. Walter even received letters from people wanting to adopt Elmer and Elsie, and admitted to a certain affection for them himself. At the exhibition “Alien Intelligence” at Kiasma/Hel29

sinki in 2000, a brother of the tortoises (the originals are unfortunately lost) was shown and proved that their behaviour appears no less lifelike today, even if the audience may have grown more sophisticated since the 1950s. Renato M. E. Sabbatini explains the robots’ appeal via Sherry Turkle’s seminal study of the relation between human beings and computers in The Second Self [16], in which one of the major findings is that “human beings do not possess the psychological conditions to differentiate between a natural mind and emotion (as observed in another human being) from their artificial simulation (as generated by a computer)” [11]. Sabrina Raaf ’s installation Lost, a tribute to NASA’s Mars Polar Lander which was lost on Mars in December 1999, is a wonderful expression of this psychological mechanism and the affectionate relationship we often develop towards human-like machines. In Raaf ’s installation, the Lander is exploring Mars on its own, encountering unknown and sometimes frightening species, unable to report back to us its discoveries (Figure 2) [6]. Clearly machinic looking, neither the tortoises nor the Polar Lander are close to falling into the uncanny valley. It seems that the machinic look of them prevents any real intellectual uncertainty as to whether or not they are truly alive, although the tortoises, owing to their lifelike behaviour, probably have a greater potential to arouse uncanny feelings in their spectator than Lost does. So far, the experience of encountering robots so humanlike they are uncanny is a fantasy familiar to us primarily through media such as literature and film. A very good example is the 1975 film version of the Ira Levin novel The Stepford Wives (1972), where the perfect robotic housewives are almost indistinguishable from human beings, as they are, of course, played by human and not robotic

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FIGURE 3 LOST: (SABRINA RAAF 2003)

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[13] Stelarc: “Parasite Visions: Alternate, intimate and involuntary experiences”, available from http://www. stelarc.va.com.au/ articles/index.html [27.02.2007] [14] The Stepford Wives (1975): Dir. Bryan Forbes, USA: Columbia Pictures and Palomar Pictures International (based on the novel by Ira Levin (1972): The Stepford Wives, New York: Random House).

actors [14]. Created by the husbands to replace the human, less perfect wives, the robots embody the idea of the double as a forecast of our own extinction, which makes them no less uncanny. Where Freud found the representation of the mechanical doll Olympia in “The Sandman” too satiric to be properly uncanny, The Stepford Wives is also a more striking example of what Todd termed the social function of castration: to be “denied life, power, and autonomy, all symbolized by the eye/penis.” Human artists approaching the robotic side of the scale can, however, be said to represent an expression of the uncanny valley in new media art today. The brutal instrumentalization of the body characteristic of Orlan’s Carnal Art (Figure 3), for instance, or Stelarc’s bodily surrender to the will of

machines or remote others, as in the Fractal Flesh, Ping Body, and Parasite performances [13] are all examples of approximations towards the machinic that are likely to arouse feelings of uncanniness in audience as well as in performer. The idea of the uncanny valley builds on an understanding of the uncanny resembling that of Jentsch, where the trigger of uncanniness is thought to be intellectual uncertainty as to whether we are dealing with a human or artificial being. The parameters of the model are appearance and movement, which can be more or less humanlike, more or less lifelike. Clearly machinic-looking robots that do not move should not arouse uncanniness, according to this model. This, obviously, can apply only to robots whose functionality is restricted to appearance and movement, 30

as there are other relevant factors that could contribute to confusion as to the status of a robot, such as artificial intelligence. Additionally, as we remember, according to Freud, intellectual uncertainty is not in itself a sufficient trigger: a situation is not uncanny unless it involves the recurrence of a previously repressed thought or belief in the individual, for instance an impression from early childhood. In Sara Roberts’s computer installation Early Programming (Figure 4) a program called MARGO is used to simulate the reactions of a mother to her child. In the installation, the audience assumes the role of child, interacting with its mother by using a mouse to choose between possible responses represented on a computer screen. Each interactive session is introduced by a short video piece depicting a familiar childhood scenario, e.g. a fork with a huge Brussels sprout on it or the refreshing sight of a swimming-pool on a hot day. The scenes are accompanied by a mechanical-sounding voice uttering commands no less familiar, such as “Open up, here comes a bite!” or “No swimming! You just ate!” It is possible to approach Early Programming (Figure 5) as a game where our objective is to try not to upset Mum while at the same time not compromise our own interests too much either. Our options are listed as a set of responses, some obnoxious, others more polite. As our interests seldom correspond with Mum’s, however, it is difficult not to upset her, and still, if we try really hard, behaving our best in order to please her, we will find that her mood is neither very predictable nor easy to control. This is when the uncanny feeling of having been in a similar situation before may occur, followed by another impulse: if this could in fact be our own Mum speaking, couldn’t Mum, conversely, be a machine?

MARGO has little physical resemblance to a human being. A rectangle placed in the middle of the screen represents her face, and indicates her mood by turning smaller and darker as her mood gets worse, or larger and lighter when her mood gets better. Her voice is synthetic and computer-like and can hardly be mistaken for a human voice. Still, she succeeds in evoking the intellectual uncertainty described by Jentsch, possibly by way of repressed experiences described by Freud. Paradoxically, her machinic appearance may be just what facilitates the production of uncanniness by providing the interactor with a neutral interface on which to project her own previous experience of the situations unfolding. Blurring the identities of Mum/machine, the intellectual uncertainty evoked by this work clearly involves the motif of the double, suggesting that the Mum we thought we knew is not Mum after all but someone/something else. The most striking element, however, in my experience of the work is the vaguely nauseous recollection it evokes of Mum’s overwhelming presence in a child’s life and the lack of agency felt as a result of Mum’s omnipotence: the hopeless insight also formulated in Captain Penny’s law that whatever you do, “you can’t fool Mum.” Lynn Hershman’s Tillie, the Telerobotic Doll (Figure 6) is another interesting work in which the theme of surveillance functions as a potential source of uncanniness. Tillie is an old-fashioned doll exhibited in a gallery space, whose camera eyes can be controlled and looked through from a website, resulting in a form of telepresence. The people controlling Tillie’s eyes from afar can move her head, and so look around in the gallery space and observe the visitors in the gallery. That is to say, when the visitors feel that the doll is watching them, she really is: or rather someone is, someone unknown somewhere in the world.

FIGURE 4 ORLAN [7]

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FIGURE 5 EARLY PROGRAMMING (SARA ROBERTS 1988) [8]

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From the perspective of the gallery visitors, the situation is not unlike that of Olympia being robbed of her eyes. Objectified by the invisible and unknown gaze of Tillie’s possessor they are deprived of their agency as an art audience, of their position as actively gazing, evaluating subjects. Looking through Tillie’s eyes, controlling her gaze and the gallery space is hardly an uncanny experience. Being the object for her gaze, not knowing who is looking, might very well be. The final work I want to examine in this paper is Ken Rinaldo’s Autopoiesis, commissioned for the afore-mentioned “Alien Intelligence” exhibition at Kiasma/Helsinki in 2000 (Figure 7). Autopoiesis is an installation consisting of fifteen grapevine-arms hanging from the ceiling, reactive to each other as

well as to the movement of gallery visitors moving in between them. The behaviour of the arms, as experienced by the audience, can be described as swaying towards or away from approaching visitors, or towards or away from each other if no visitors are present, accompanied by an incomprehensible chattering. For me, entering this community of chattering arms for the first time was not a pleasant experience: On the one hand I felt invaded by the creepy arms approaching me, while at the same time slightly insulted by the other, more reserved arms, openly avoiding me. Most of all, though, I felt an overwhelming timidity, as if exposed as a stranger entering a foreign culture in which it is clear to everyone that I don’t belong: I don’t know the codes or how to behave, and as the language used is incomprehensible to me I can only suspect that their jokes are on me. The next time I visited the exhibition I was better prepared to interact with the arms, as I’d read about the installation in the exhibition catalogue. Now I knew what the arms were supposed to do, how they were likely to behave, and how I was to behave in order to interact meaningfully with them. Not surprisingly, this time my experience was totally different: instead of feeling intimidated, I soon started to feel affection for the arms. I could easily make them approach me, even follow me around, and if they turned away, I could make them approach me again by trying from a different angle. Now I knew that what I had earlier perceived as incomprehensible chattering probably meant that they were scared – while calmer buzzing would be a sign that they felt well. I also knew now, however, that some of them carried a camera, filming the visitors during the interaction and projecting shadow-like images of us onto the wall. My initial feeling of being watched was perhaps not so paranoid and farfetched after all. Nevertheless, the 32

FIGURE 6 TILLIE, THE TELEROBOTIC DOLL (LYNN HERSHMAN 1995-1998) [10]

timidity felt when I encountered the community of arms for the first time was gone, and didn’t return. The uncanniness of the first situation has a parallel in Freud’s reported experience of uncanniness when losing his way in the Italian province town. Together these two episodes support another aspect of Jentsch’s theory that the uncanny is connected to intellectual uncertainty, “that the uncanny would always, as it were, be something one does not know one’s way about in. The better oriented in his environment a person is, the less readily will he get the impression of something uncanny in regard to the objects and events in it.” The initial uncanniness evoked by Autopoiesis can be explained by our feeling of helplessness when being “robbed of our eyes”, that is, deprived of our agency to act and interact meaningfully with our environment, in this case the installation. Thus, in order to perceive Autopoiesis as uncanny, I think it is vital that the audience do not quite grasp how the installation functions technically. If we know too well what processes are controlling the movements and sounds, the installation may be experienced as interesting or fascinating, but not uncanny. An initial confusion as to who or what controls the “arms” approaching us, or withdrawing from us, is required in order to experience their behaviour as autonomous expressions of a present consciousness. The other factor contributing to making the situation uncanny is the communication going on between the “arms”, from which we are excluded, not comprehending the language being used. It is as if we are entering a room in which everyone knows something about us, discussing it openly but in a language we do not understand. Perhaps they are mocking us, and our obvious lack of control?

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FIGURE 7 AUTOPOIESIS (KEN RINALDO 2000-2005) [11]

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Autopoiesis is an artificial life robotic series of fifteen musical and robotic sculptures that interact with the public and modify their behaviors based on the both the presences of the participants in the exhibition and the communication between each separate sculpture.

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CONCLUSION The uncanny is a subjective experience, not a quality inherent in any object or situation. Depending on the person experiencing, the behaviour of automatatic and other animated, lifeless objects may be perceived as uncanny, â&#x20AC;&#x201C; or simply as funny, peculiar, or fascinating. Nevertheless, as I hope I have been able to show in this paper, certain objects and situations are more likely to arouse a feeling of uncanniness in their audience than others. Childrenâ&#x20AC;&#x2122;s automated toys and tamagotchi, as well as W. Grey Walterâ&#x20AC;&#x2122;s tortoises, are examples of animated objects that are usually not experienced as uncanny, even if one may find their behaviour lifelike. Combining the doll motif, wellknown from the horror genre for its evocative powers, with a surveillance situation, Tillie, the Telerobotic Doll on the other hand represents one of the more 35

prototypical examples of a potentially uncanny encounter in new media art. In contrast to Olympia who was robbed of her eyes and thus lost her status as autonomous subject, Tillie gets new pairs every day (as long as she is exhibited, that is). Making encounters with such ambivalent creatures available to us, new media art not only expands our field of aesthetic experience, it also adds an extra dimension to our potential insecurities as to the animism of lifeless objects.

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Interview with Ron Mueck

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Australian-born, London-based Ron Mueck is as enigmatic as his sculptures. From a distended baby, stuck to the wall crucifixion-style and bearing an unnervingly intelligent demeanor far beyond his age, to a smaller-than-life, sick old woman, who curls up in a fetal pose under a blanket, Mueckâ&#x20AC;&#x2122;s works command an uncanny ability to amaze with obsessive surface detail and intense psychic discharge. Engaging and wildly popular, they expose our need to validate our humanity, even as they thwart our attempts at full disclosure.

Sarah Tanguy: How and when did you get the idea of manipulating scale with your figures? Ron Mueck: I never made life-size figures because it never seemed to be interesting. We meet life-size people every day. ST: So you alter scale to raise the emotional and psychological impact? RM: It makes you take notice in a way that you wouldn’t do with something that’s just normal. ST: With Big Man, did you know right from the start that you wanted it to be super-scale? RM: He didn’t actually start big at all. I had sculpted another piece—a small figure of a man wrapped in blankets. I didn’t use any reference or life model with him. He’s sculpted completely from imagination. At the time, I had just started an artist residency at the National Gallery, and they were doing a life drawing class with the public. I joined in and did my first life drawing in one of these classes, which I quite enjoyed. Coming back into the studio and looking at the sculpture, I thought, “How would it be different if I did exactly the same thing but working from life?” I don’t normally work with live models—I use photographs or references from books, take my own photographs or look into the mirror. I tried to find a live model who matched the little guy wrapped in the blankets. I located one who was physically similar, got him into the studio for three hours, and found that he couldn’t actually curl up like that. His limbs weren’t flexible enough. His belly was in the way. It meant that he couldn’t achieve the pose. I was also not used to having a model in the studio. I found it quite intimidating, because there’s another person demanding to be related to. And this guy was naked and completely shaven. He didn’t have a single hair on his body. He was quite disturbing. I thought, “Right, what am I going to do with this naked man?” I asked him 39

to sit in the corner while I figured this out. He suggested some poses that he might be able to strike for me, and he took on all these ridiculous classical poses that live models like. They were so phony and unnatural, and I realized there was nothing at all I could do with him. As I was summoning the courage to ask him to leave early, I glanced over at him in the corner waiting for me to make my mind up. He wasn’t quite as belligerent as the sculpture ended up, but he was in that position. And I thought, “That looks good.” So that’s how I came about the pose. I did a clay study, about a foot high, of him in that pose. At that point, I thought perhaps that might be the final size of the sculpture. After I got a little way into sculpting this foot-high version with him there, he left. I didn’t actually get him in again because I had all the information I needed without any further input from him. I then carried on playing with the sculpture a bit. In the process, I took photographs of what I was doing, as I often do, because I find that if I photograph the work I can see it with a fresh eye. You can do the same looking in a mirror. If you look in a mirror, you see all the imperfections and asymmetrical things that you just can’t see otherwise because you’ve been looking at it too long. While reviewing the photographs, I sketched a little figure on the photograph with a felt-tip pen — a little person, standing and gazing at the maquette. The scale of what I had sketched made the figure about eight feet high. It was kind of intuitive. I had doodled this little man because in the photograph you couldn’t tell the size of the figure. With him there, I could see that the sculpture worked as a big thing. He looked like a bull of a creature. I thought, “Well, maybe I’ll try it that size.” Once I decided on the scale I was going to aim for, I snapped some photographs. I took a profile view and squared that up—just drew lines all over it and squared that up onto paper. I then

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did a drawing of him on brown paper the size that would suit him—seven or eight feet tall. As soon as I sketched that out, I thought it would do. Working with the drawing, I made a chicken wire and plaster armature. Afterwards, I lined up the armature to see if it would fit within the profile of the drawing.

ST: How long did you work on Big Man?

ST: Is the yellowish material the plaster?

RM: That was too fast.

RM: I use a very hard dental plaster rather than plaster of Paris, and it does have yellow pigment in it. After I put the plaster on over the chicken wire, I also paint shellac over the plaster, which stops the plaster from sucking the moisture out of the clay. It might be the shellac as well that looks yellowish or brownish.

ST: Is there a difference between when you work with a live model and when you work with a photograph, a found image, or from your imagination?

ST: What do you do after the clay?

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RM: I also spray that with shellac, again to seal the clay so it doesn’t dry out when I create the plaster mold. That’s what makes it suddenly look so dark brown. I construct a wooden structure to support the mold and hold it rigid because the mold is a very thin layer of plaster with Hessian scrim. And it’s quite fragile. Then I paint layers of colored polyester resin into the mold. There’s a little bit of fine-tuning. When he came out, the color was a little bit “new-born.” He was very clean and pink. I just weathered him on the surface. I gave him some age spots, veins, and things would have been too hard to figure out in reverse. ST: One of the traits you already mentioned that both attracts and repels me is his lack of body hair. RM: The model was a “smoothie” as they call them in the live modeling trade. It was very creepy. I had actually intended to put some hair on the figure, but in the end, the creepiness suited the size. I did think, however, that hairs on those big arms would have been quite nice actually—big, hairy gorilla arms.

RM: Four weeks. I had a deadline: a week sculpting, a week molding, a week casting, and a week finishing. ST: That was fast.

RM: There’s no denying that I have more information readily at hand when I have a live model. Even when I have had a model, however, what I have to do in the end is to consciously abandon the model and go for what feels right. Otherwise, it becomes an exercise in duplicating something. Sometimes what feels right is not what actually is right. With Big Man, his feet were too large for his body. I ended up distorting the work in order to enhance the feeling of the piece rather than to make it look precisely like a particular person. ST: Is there a difference for you when the human form is in its entirety or when it’s a fragment, as in your self-portrait Mask? RM: The only way I could do a fragment was to make it a mask, because a mask is a whole thing in itself. I couldn’t do a decapitated head or half a body. I have to believe in the object as a whole thing. A bronze bust is an entity because, for starters, it’s bronze and it’s not pretending to be anything other than a fragment or a sculpture. But my things are pretending to be something else as well. A mask is complete already. This is just a different kind of mask. It’s a realistic mask.

ST: I’m curious about the relationship you have with your sculptures. Do you see them as human beings, almost? Or more like mannequins? RM: I don’t think of them as mannequins. On one hand, I try to create a believable presence; and, on the other hand, they have to work as objects. They aren’t living persons, although it’s nice to stand in front of them and be unsure whether they are or not. But ultimately, they’re fiberglass objects that you can pick up and carry. If they succeed as fun things to have in the room, I’m happy. At the same time, I wouldn’t be satisfied if they didn’t have some kind of presence that made you think they’re more than just objects.

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Interview with Kate Clark

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Brooklyn based artist and sculptor, Kate Clark graciously took time to answer questions about her wildly intriguing animal-human hybrid sculptures. The human animal is never more fully realized than when it stares back at us. Clark's taxidermy works of art demand we face our truest nature, what it means to be an animal and how the connection between human and animal may seem distant but it is certainly always present.

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Francis Xavier: When and how did your journey as a sculptor begin and what led you in the direction of using animal hides as your preferred medium? Kate Clark: During graduate school I was reading about the evolution of the human face -- how the specific changes, i.e. a hairless face, whites of the eyes, eyebrows, muzzle pulled back, etc, together allow for an enormous range of easily ‘readable’ expressions. Our ability to read even the subtlest expression in a flash, helped humans create a civilized culture based on trusting and understanding the others in our society. I bought a small raccoon shoulder mount and started experimenting with the animal hide. It took a lot of experimentation but eventually I was able to create a balance between an animal’s facial features and human facial features, allowing the animal’s transformed face to communicate complex (what we consider ‘human’) expression and emotion. Once I was able to make a believable human face, the discussion switched from a scientific one to both a conceptual and emotional one. I think a viewer senses a material’s quality, natural or artificial, and I see that this material, real hide, causes a visceral reaction when a viewer first approaches the work. I sometimes find it hard to believe myself -that I use animal hide, but using the animal’s actual skin and transforming it, rather than putting two artificial things together, is the most important concept behind the work. The leather I use as skin for the human face is the skin that covered the animal’s face. I attempt to match up sections of skin, for example, using the animal’s eyelids and lashes around the human-looking eyes. I shave the fur so that the viewer might relate to the oily, porous features that we recognize in our skin. In making the transformation from animal to human as smooth as possible, and then having 43

the animal’s face reflect ours, not only in form and expression, but also, undeniably, in it’s similar skin qualities. I am visually saying that although we have an enlightened existence, we are of wild origin, coexisting members of the animal kingdom. FX: Your sculptures blend many elements from the mythic to the deeply personal; does blending your vision with inspiration ever compete with the initial idea for a piece? How do you keep sight of the initial idea? KC: My work is discussed in the context of environmentalism, mythology, spiritualism, futuristic biology, etc. What I love about the range is that it enables the work to be considered in a current and contemporary way that leads to the broader discussion of cultural evolution. The fact that we haven’t physically evolved as humans from the time before Greek mythology until now, and probably won’t evolve physically as we move into the future, is an amazing fact - considering the leaps and bounds that we have evolved culturally. Even though we are the same physical people, we are masters at adapting to these cultural changes. But there is a tipping point – people may want to reevaluate if they feel comfortable/natural adapting to the constant cultural advances, and instead choose to rekindle a relationship with nature. FX: When do you know a piece is done, and do you ever wish you could change something once its “finished?” How do you let a piece go? KC: When making the pieces I stop when I reach a point that will present the sculptures as balanced- ie: balanced between presenting fact vs. fiction, beauty vs. aberration, visibly constructed vs. believably lifelike. Through the years of working with animals, I’ve come to the conclusion that I want each piece to look dignified. Many viewers have suggested that I take them in a monster-y direction, but I think that would make them easier to dismiss.

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Instead, I make sure the animal stands or sits in a powerful position, while their faces appear comfortable and casual in their transformation. This adds complexity within the viewer/sculpture relationship—the character in the sculpture is comfortable while the viewer is uncomfortable-- until he or she spends the time to find beauty or meaning in the work. FX: Favorite piece?

FX: What type of art/art movement inspires you? KC: I love to see artwork that is truly original and bold and particularly work that uses materials in an interesting way. FX: Do you ever suffer from a creative block? If so, do you find stepping away from what you are working on helps? Or do you just plow through it?

KC: Usually the one I’m working on. FX: What challenges does working with animal hides present when combining with other materials? Are the animal hides the main focus and do you have to temper the other materials from overshadowing their natural beauty?

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KC: The final surface of the entire piece is the animal’s hide. The hides I choose are slightly damaged or slightly dry- unwanted by taxidermists who do not want to repair them, especially if the face is the damaged area. I choose to use these hides instead of fresh perfect ones as part of the concept of my work. It’s worthwhile for me to make the repairs and I let them show along with the other transformations I’ve made. Even with slightly damaged areas, the hides are remarkably beautiful in their coloring, details, etc.- unlike anything I could make by hand. FX: What challenges does a sculptor face in 2016 compared to when you started? KC: One thing that’s been a new challenge for me is when images or videos of my work go ‘viral’. The visibility is great but some of the reactions show that a good percentage of the viewers are not taking any time to look at the work and figure out what I’m presenting. They seem to react impulsively and very often they react to other people’s reactions. I’m sure I’m not the only artist who is suffering from this.

KC: I am a workaholic. I don’t get to step away often enough, but when I do, I do find that my cleared mind offers resolutions. Yesterday I was on the plane to New Orleans to attend my exhibition and within minutes of sitting down I resolved the base of my current piece- something I’ve been struggling with for a while. FX: Your sculptures are stunning and unsettling are you ever scared of your work and what has blending the human with the animal taught you about yourself as a human, and has the reaction of people given you any surprising insights? KC: Being pregnant with my daughters showed me what it was to have uncontrollable primal emotions and reactions. That was incredibly insightful. The reaction of my viewers has confirmed that humans find animals irresistible and they recognize that there is nothing else that we can relevantly compare ourselves to. FX: Why do you create art? Any thoughts on the “tortured artist” stereotype? KC: Yes, it’s true. I have a lot of happiness in my life but I am compelled to make my artwork and I am unsettled unless I’m able to do it.

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ARTISTS CAO HUI KATE CLARK CINDY SHERMAN COOL 3D WORLD HANS BELLMER RON MUECK

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Cao

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Biography Cao Hui is a Chinese based sculptor who was born in Kinming, the Yunan Province of China in 1968. His sculptures are made in the name of Photorealism, Realism, and even Hyperrealism. Increasingly uneasy and dissatisfied with merely describing surface appearances, artists like Cao Hui, attempt to plumb the inner reaches of things; an agenda that apparently moves into science or other fields. Hui is driven by his inborn love of perfomance to try out new roles, such as philospher, scientist, doctor, or even perhaps an engineer. The real goal is wanting to play God more than anything else, and nothing will stop him in constructing a truth that validates himself. A E S T H E T I C A M B I V A L E N C E

Cao earned his Bachelor Degree from the Sculpure Department of the Yunnan Art Institute, in Yunnan, China in 1991 at the age of 23. After earning his degree, he worked on creating pieces that three years later in 1994 earned him the "Outstanding Work Prize in the 8th National Fine Arts Exhibition." With more of an incentive to continue creating works that he loved to make, he earned his Master's Degree from the Sculpture Department of the Central Academy of Fine Arts, in Beijing, China in the year 2000. In that same year he was awarded the "Yunnan Province Arts and Literature Creativity Prize."

Hui's sculptures have traveled all around Europe starting in China, all the way to Norway, Italy, Germany, Romania, Hungary, and the UK. He has held many solo exhibitions and shared exhibitions and won many more prizes and awards. In 2005 he was part of a group exhibition with HaiYi Chang Zhou, another well known Chinese Contemporary Sculptor. In 2009 he created his Visual Temperature pieces and was featured in Juxtapoz Magazine, Designboom, and many more online articles. Cao continues to work on his works in Beijing, China and will continue to play God in his works until he has validated that truth.

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VISUAL TEMPERATURE â&#x20AC;&#x201D; GLOVES Mixed Material of Resin, Fibre, etc 21x10x4cm 2009

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VISUAL TEMPERATURE â&#x20AC;&#x201D; SHOES Mixed Material of Resin, Fibre, etc 2009

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VISUAL TEMPERATURE â&#x20AC;&#x201D; CASE Mixed Material of Resin, Fibre, etc 50x55x48cm 2009

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VISUAL TEMPERATURE â&#x20AC;&#x201D; SOFA Mixed Material of Resin, Fibre, etc 98x106x108cm 2008

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VISUAL TEMPERATURE â&#x20AC;&#x201D; PURSE Mixed Material of Resin, Fibre, etc 2008

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VISUAL TEMPERATURE â&#x20AC;&#x201D; COAT Mixed Material of Resin, Fibre, etc 22x58x88cm 2008

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VISUAL TEMPERATURE â&#x20AC;&#x201D; SOFA NO.2 Mixed Material of Resin, Fibre, etc 95x98x106cm+75x50x40cm 2008

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Kate

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Biography

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Kate Clark is a sculptor who lives and works in Brooklyn, NY. Her sculptures synthesize the human face and the body of wild animals, exploring the overlap that exists across our cultures, and within our histories. Kate had her first solo exhibit at Claire Oliver Gallery in New York in 2008. Since then she has been included in solo and group museum exhibitions at the Aldrich Museum of Contemporary Art, The Islip Art Museum, and The Bellevue Arts Museum, the Mobile Museum of Art, MOFA: Florida State University, Cranbrook Art Museum, Frist Center for the Visual Arts, The Winnepeg Art Gallery, the Glenbow Museum, the MusĂŠe de la Halle Saint Pierre, Paris, The Art Gallery at Cleveland State University, the Hudson Valley Center for Contemporary Art, the Nevada Museum of Art The Newcomb Art Museum and the David Winton Bell Gallery at Brown University. Her work is collected internationally and is in public collections such as the JP Morgan Chase Art Collection, the 21c Collection, the David Roberts Art Foundation in London, and the C-Collection in Switzerland. Clark attended Cornell University for her BFA and Cranbrook Academy of Art for her MFA and has been awarded fellowships from the Jentel Artists Residency in Wyoming, The Fine Arts Work Center Residency in Provincetown, MA., and the Marie Walsh Sharpe Studio Program in New York. Clark was nominated for a Louis Comfort Tiffany Award and an American Academy of Arts and Letters award. Clark was awarded a grant from The Virginia Groot Foundation in 2013 and 72

a New York Foundation For the Arts (NYFA) Fellowship Award in 2014. Clark’s sculptures have been featured in the Wall Street Journal, New York Times, New York Magazine, Art21:Blog, The Village Voice, PAPERmag, The Atlantic, NYArts, Huffington Post, Hi Fructose, the BBC World News Brazil, Hey! Magazine, Time Out, ID Paris, Cool Hunting, Wallpaper, VICE, Sculpture Review and many other publications. Kate’s work is the cover image for Art ltd. magazine, November/December 2014. Kate was filmed by National Geographic in her studio over a 2 month period for a short documentary about her work.

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AS SHE MEANT IT Ram hide, apoxie, clay, foam, thread, pins, rubber eyes 26 x 25 x 21 inches 2010

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CHARMED Springbok hide, antlers, clay, foam, thread, pins, rubber eyes, steel and wood base, painted canvas 72 x 40 x 23 inches 2015

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THE PACK Coyote hides, foam, clay, pins, thread, rubber eyes, wood, cardboard 66 x 44 x 92 inches 2007

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PREOCCUPIED fallow deer and mule deer hide, antlers, clay, foam, thread, pins, rubber eyes 44 x 30 x 24 inches 2010

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SHE GETS WHAT SHE WANTS Bear hide, clay, foam, thread, pins, rubber eyes 66 x 26 x 26 inches 2016

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BEHAVING Bear hide, clay, foam, thread, pins, rubber eyes 66 x 26 x 26 inches 2016

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CEREMONY Gemsbok antelope hide, horns, foam, clay, pins, thread, rubber eyes 120 x 120 x 72 inches 2011

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Cindy

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C I N D Y S H E R M A N

Biography

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Cindy Sherman was born January 19, 1954 in Glen Ridge, New Jersey (virtually a suburb of New York City). Shortly after Cindy's birth, the family moved to Huntington, Long Island, where Cindy grew up as the youngest of five children. Although her parents shared a general disinterest in the arts-her father was an engineer and her mother a reading teacher-Sherman chose to study art in college, enrolling at the State University of New York, at Buffalo, in the early 1970s. Sherman studied in Buffalo from 1972-76; she began as a painter, but she quickly found herself frustrated by what she considered certain limitations of the medium. The 1970s was an eclectic era for painters working in the aftermath of Minimalism, and feeling as though "there was nothing more to say [through painting]," Sherman shifted her attention to photography. During her studies, Sherman met fellow artists Robert Longo and Charles Clough, with whom she co-founded Hallwalls Center for Contemporary Art in 1974 (it continues to function to the present day as a dynamic, multi-arts "hub"). Longo and Sherman dated until 1979. During her studies, Sherman was exposed to Conceptual art and other progressive art movements and media under the widely influential art instructor, Barbara Jo Revelle. Upon graduation, Sherman moved to New York City to pursue her artistic career. In 1977, with her downtown residential and studio loft as her primary backdrop, Sherman began taking a series of photographs of herself, a project she would eventually refer to as the 92

Untitled Film Stills. In this series, Sherman embodies the character of "Everywoman." Re-fashioning herself repeatedly into the guise of various female archetypes, Sherman played the girly pin-up, the film noir siren, the housewife, the prostitute, and the noble damsel in distress. The black-and-white series occupied her for about three years, so that by 1980 Sherman had virtually exhausted a myriad of seemingly timeless cliches referring to the "feminine." With the debut of Untitled Film Stills, Sherman secured her position in the New York art world, leading to her first solo show at the non-profit exhibition space, The Kitchen. Shortly after, she was commissioned to create a centerfold image for Artforum magazine. Photos of a pink-robe-clad Sherman were ultimately deemed too racy by editor Ingrid Sischy and rejected. There is no knowing whether a subsequent series shot from 1985 to 1989, Disasters and Fairy Tales, was in some sense a response to that act of rejection, but, notably, it is a much darker endeavor than its prettified predecessor. Its gloomy palette and scenes strewn with vomit and mold challenged viewers to find beauty in the ugly and the unqualified grotesque.

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UNTITLED #332 B/W photograph 38 1/2 × 25 1/2 in 97.8 × 64.8 cm 1999

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UNTITLED (FROM BROKEN DOLLS SERIES) B/W photograph 38 1/2 × 25 1/2 in 97.8 × 64.8 cm 1999

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(pg.82) UNTITLED #184 Colour photograph 61 2/5 × 90 9/10 in 156 × 231 cm 1988 (pg.84) UNTITLED Colored photograph 68 × 45 in 172.7 × 114.3 cm 1992

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UNTITLED #302 Color photography 66 1/6 × 45 in 168.1 × 114.3 cm 1994

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(pg.86) UNTITLED Chromogenic color print 50 × 75 in 127 × 190.5 cm 1992 (pg.88) UNTITLED #447 Chromogenic color print 48 × 72 in 121.9 × 182.9 cm 2005

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UNTITLED Chromogenic color print 61 × 41 in 154.9 × 104.1 cm 1994

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MASK WITH BABY DOLL C-print 15 × 20 in 38.1 × 50.8 cm 1987

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UNTITLED #315 1995

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UNTITLED Chromogenic color print 55 × 55 7/8 in 139.7 × 141.9 cm 2004

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UNTITLED Chromogenic print, on photo paper, with full margins 30 × 19 9/10 in 76.2 × 50.5 cm 2003

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Cool 3D

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Biography Fat men puking up other fat men to lose weight, contorted bodies falling through the abyss and landing on a single finger, a man running through a tube connected to the belly buttons of two giants. Appearing on Vine last year, the unconventional, often nightmarish scenes from the Cool 3D World have gone viral and are now available on YouTube and Instagram amassing a huge following. It is the brainchild of Brian Tessler and Jon Baken, two web artists with a musical background who are changing the landscape of 3D animation and art.

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Each short scene leaves you with a profound sense of confusion, with each new addition leaving you more unsettled than the last. Why do these characters look so grotesque? Why do they scream with such blood-curdling passion at nothing? What does any of it actually mean? By pairing 3D animation with haunting sounds, the alternative universe began as an outlet for their “imagination and sense of humour”. "We started working together in the summer of 2015, exchanging musical and visual ideas,” Baken explains. “Cool 3D encompasses both of our styles from the past but also has been the platform for new experiments and ideas. We’ve had a lot of fun developing our craft.” Having started on the short-looped video platform Vine which “served as a really quick way to come up 114

with ideas” the pair now work side by side, programming music and graphics together to create each piece and have set their sights on longer more intricate sequences. The creative duo say that the ideas arise from “conversations with friends, films, music,” with Baken adding: “most recently, an entire video idea can come from hearing a song a certain way”.

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ROOMS (ANIMATION STILL) Film & animation 1080x720p 2016

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(pg.114) FRANKIE'S FRIGHT V (ANIMATION STILL) Film & animation 1080x720p 2017 (pg.116) STRAWBERRY (ANIMATION STILL) Film & animation 1080x720p 2017

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THE MAGICIAN (ANIMATION STILL) Film & animation 1080x720p 2017

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NAIL CUT (ANIMATION STILLS) Film & animation 1080x720p 2017

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(pg.112) LIFE WELL LIVED (ANIMATION STILLS) Film & animation 1080x720p 2017 (pg.114) CREATION (ANIMATION STILLS) Film & animation 1080x720p 2017

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THE BOTTLE (ANIMATION STILLS) Film & animation 1080x720p 2017

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Hans

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Biography

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Bellmer spent his adult life working through childhood trauma. He and his brother lived in fear of their stern father, who showed the boys little affection. He believed he was denied a normal childhood, as natural childish play was forbidden under his father's "cold shadow." Later in life, driven by an obsessive hatred of his father, he wasted no opportunity in interviews and poems such as Der Vater (The Father, 1936) to reiterate the evil spell his father had cast over his life, once noting his "father issues" would have made him a perfect case study for Sigmund Freud. Bellmer saw his behaviour as a response to his father, and categorized it as "rebellion, defence, attack". His early interest in cross-dressing reflected a curiosity about being a woman, an early sexual interest in girls, and an opportunity to lash out at his father. Biographer Sue Taylor reports that he deliberately sent his father into a seizure by powdering his face and wearing lipstick. Bellmer agreed to study engineering at the Berlin Polytechnic to escape from his father, but his true passion was art. In 1924 he quit school, and took up work as an illustrator and designer of advertisements for the Malik-Verlag publishing house. Attracted by the Dada movement, he illustrated Dada novels, including Das EisenbahnglĂźck oder der Antifreud (1925) by Mynona. He befriended avant-garde artists such as John Heartfield, Rudolf Schlichter, and George Grosz and attended lectures at the Bauhaus. The artistic freedom of Berlin in the Weimar period was crushed by the rise to power of the repressive Nazi regime 136 136

under Hitler in the late 1920s. The Nazi party denounced modern art as "degenerate" and banned the work of many artists such as Grosz. Bellmer drew a connection between fascism and his father (a proud Nazi), and he recalled this time as one of "inner revolt and repressed despair." However, he fought back. In 1933 he cut relations with his father and made a vow to refrain from any useful activity (such as working as an illustrator) that might assist the Nazi regime, demonstrating his political conscience. His symbolic rejection of the Nazi's took the form of a doll, a figure which would become his life's obsession. He decided to create an "artificial girl" who was "capable of creating the heights of passion, even inventing new desires." He drew inspiration from many sources: classical myths such as Ovid's Metamorphoses; the animated doll in E.T.A. Hoffmann's Sandman, the Sleeping Venus archetype of the Old Masters, the Dada dolls of Lotte Pritzel and Hannah Hรถch, and the infamous doll of Oskar Kokoschka, a wax replica of his lover Alma Mahler. H A N S B E L L M E R

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LA POUPÉE (THE DOLL) Hand-colored vintage gelatin silver print affixed to contemporary archival mount 16 3/8 × 16 1/2 in 41.6 × 41.9 cm 1935

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LA POUPÉE, BERLIN Silver print unmounted 19 × 19 in 48.3 × 48.3 cm 1935

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FOUR WOMEN 20 × 26 in 50.8 × 66 cm 1965

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LA POUPÉE (THE DOLL) Vintage gelatin silver print 3 × 2 1/4 in 7.6 × 5.7 cm 1934

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SANS TITRE, Ã&#x2030;TUDE POUR 'LA BICYCLETTE' D'HISTOIRE DE L'OEIL Graphite on paper 1946

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OHNE TITEL Pencil on paper 5 1/2 × 3 9/10 in 14 × 10 cm 1954

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THE DOLL (LA POUPÉE) Gelatin silver print 39 4/5 × 39 4/5 in 101 × 101 cm 1949

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LES BAS RAYES FROM AN AMERICAN PORTRAIT VOLUME II: NOT SONGS OF LOYALTY ALONE Lithograph 1975

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UNTITLED Graphite and white gouache on paper 5 1/2 × 3 5/8 in 14 × 9.2 cm 1946

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Ron

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Biography London-based sculptor Ron Mueck is known for his startlingly realistic yet enigmatic sculptures that portray humans at key stages in the life cycle, from birth through middle age, to death. In works that are either monumental in scale or undersized, he explores the human condition and psyche, often conveying feelings of loneliness, vulnerability and alienation.

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The son of German-born toymakers, Mueck grew up making creatures, puppets and costumes in his spare time, experimenting with materials and techniques. With no formal art training beyond high school, he began his career making models for television and film. He worked in Australia, Los Angeles and London. After establishing his own production company in London to make models for the advertising industry, he began making highly realistic figures using fibreglass resin. In 1996, Mueck came to the attention of collector Charles Saatchi, who saw his half sized figure Pinocchio in the studio of the painter Paula Rego, Mueck's mother-in-law. Saatchi commissioned more work by Mueck, who began with an oversized baby, as a response to the birth of his child and the baby's sudden domination of the household. In 1997, Mueck achieved immediate international recognition when his Dead Dad appeared in the controversial exhibition Sensation: Young British Artists from the Saatchi Collection, a show that one critic summarized as "realism with a vengeance." 154

In 2000, Mueck became the fifth Associate Artist at the National Gallery in London. Mueck's maintains an extremely high standard of craftsmanship, beginning with clay maquettes and sculpting in fibreglass, silicone and resin. Mueck's Untitled (Old Woman in Bed) (2000) was inspired by the artist's visit to see his wife's ailing grandmother, a beloved member of the family. It depicts a tiny, vulnerable woman enveloped in hospital linens. The sculpture conveys a sense of deep compassion for the subject. With the oversized A Girl (2006), Mueck emphasizes the strangeness and assertiveness of a newborn. Ron Mueck has held solo exhibitions in London, New York, Sydney and Ottawa, and participated in many international group exhibitions, including the 2001 Venice Biennale.

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MASK II Polyester resin, fiberglass, silicone, synthetic hair, cotton 2001

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TWO WOMEN Mixed Media 2005

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MAN IN A BOAT Mixed Media

1/3 scale 2002

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MASK Polyester resin, fiberglass, silicone, synthetic hair, cotton 8ft high 1997

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WILD MAN Mixed Media 9ft tall 2005

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A GIRL Mixed Media 2006

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BOY Fibreglass, resin, silicone 5m tall 1999

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WOMAN WITH STICKS Mixed Media 180 cm high 2008

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Exhibition

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CAO HUI 1994 Beijing, China 8th National Fine Arts Exhibition Outstanding Works Show 1995 Taibei, Taiwan Collective Exhibition of Chinese Sculptors Changchun, China Invitation Exhibition of International Fine Art Works 2000 Qingdao, China Academies of Fine Arts in China Selected Works Show of Graduates from Advanced Academies Hangzhou, China The Second Invitation Exhibition of Young Sculptors Chongqing, China Several Standard Images Exhibition of Chinese Contemporary Sculpture 2001 Hangzhou, China Xihu Lake International Sculpture Invitation Exhibition Shanghai, China Shanghai Young Artists Exhibition

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2003 Chongqing, China Contemporary Artists 1st annual Invitation Exhibition Turnaround 2005 Beijing, China Chinese Contemporary Art Exhibition New - Boundless Tianjin, China Group exhibition of Chinese Contemporary Sculpture works Extravagant Times - Allegories of Sculpture Art Tianjin, China Group exhibition of Chinese Contemporary Sculpture works Luxurious Times' Sculpture Arts Parables 2006 Beijing, China Chna Contemporary Arts Exhibition Double - Kick Firecracker 2008 Taipei, Taiwan My HumbleHouse Art Gallery A Civilized Banquet:The Scupture

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2009 Beijing, China Found Museum Chinese Fantasies

Beijing, China Museum of BFA Trace & Qualitative Leap Beijing Film Academy's 60th Anniversary Exhibition

Beijing, China PIFO New ArtGallery Visual Temperature

2011 Taipei, Taiwan Lin & Lin Gallery Momentum

Beijing, China White Box Museum of Art The Home Court Taipei, Taiwan MOCA Spectacle Beijing, China MANO Art Gallery Source Beijing, China White Box Museum of Art An Exhibition of Contemporary Art Beijing, China Red Star Gallery Zhī Hū Zhě Yě - ContemporaryArt Rhetoric A E S T H E T I C A M B I V A L E N C E

Beijing, China Linda Gallery Time Lag Beijing, China Found Museum Discovery 2010 Beijing, China Today Art Museum China Reshaping History - Chinart from 2000 to 2009

Shanghai, China Shanghai Exhibition Center Lin & Lin Beijing, China Red Star Gallery Endless Variations Beijing, China Lin & Lin Gallery Latent Reality 2012 Shenzhen, China Shenzhen Luohu Art Museum Power of the Academy Suzhou, China Suzhou Jinji Lake Art Museum Passing Through Memory Beijing, China CAFA Art Center Sculpt China Shanghai, China Shanghai Art Museum Omen 2012 Bergen, Norway Galleri 3.14 Skin, Flesh, and Bone

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KATE CLARK Beijing, China PIFO New Art Studios Cao Hui Solo Exhibition 2013 Venice, Italy Voice of the Unseen - Chinese Independent Art Romania, Czech and Serbia National Gallery of Bulgaria New Chinese Contemporary Art Debrecen, Hungary Modem Centre for Modern and Contemporary Arts Spectacle Reconstruction - Chinese Contemprary Art Daton, China Heyang Art Museum 2013 DATONG 2nd Annual International Sculpture Biennial Donguan, China 21Space Art Museum Shaping: New Figurative Sculpture Exhibition Beijing, China National Agriculture Exhibition Center Art Beijing

2000 Flint, MI Mott Community College Constructed Images Troy, MI D'Arcy Cranbrook Connection Bloomfield Hills, MI Cranbrook Art Museum, Forum Gallery How Are You? 2001 Birmingham, MI Robert Kidd Gallery Fresh Paint 2002 Detroit, MI Detroit Artists' Market 70th Anniversary Biennial Detroit, MI Detroit Artists' Market Dealer's Select

Beijing, China The Central Academy of Fine Arts Museum CAFA Teacher

2003 New York, NY 55 Mercer Gallery A Bestiary

London, UK Olympia Grand Hall ART13 London

Detroit, MI Detroit Artists' Market Member's Invitational

Fuzhou, China Fujian Art Museum Coloured Sculpture

2005 Brooklyn, NY Tabla Rasa Gallery Project Diversity Brooklyn, NY Rush Philanthropic Arts Foundation Project Diversity

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Detroit, MI Detroit Artists' Market Biennial

Miami, FL Miami SCOPE

2006 Brooklyn, NY Nurture Gallery MAD COW: Absurdity and Anxiety in Contemporary Culture

Provincetown, MA Fine Arts Work Center Kate Clark

Brooklyn, NY New York Art Fair SCOPE Seoul, Korea Gallery Velvet Allergy Provincetown, MA Hudson D. Walker Gallery 2006 Fellows and Jurors 2007 New York, NY Abrons Art Center Posing

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New York, NY Hamptons Art Fair SCOPE Brooklyn, NY Secret Project Robot Our Dark Heroes New Haven, CT Artspace Why Look at Animals? Provincetown, MA Provincetown Art Museum Fine Arts Work Center Fellows Exhibit

Provincetown, MA Hudson D. Walker Gallery Kate Clark 2008 East Islip, NY Islip Art Museum I Dream of Genomes New York Claire Oliver Gallery New, Next, Now New York Claire Oliver Gallery Perfect Strangers 2009 Miami Claire Oliver Gallery Art Miami Chicago Claire Oliver Gallery NEXT Chicago Bellevue, WA Bellevue Arts Museum Uber-Portrait Ridgefield, CT The Aldrich Contemporary Pretty Tough: Contemporary Storytelling

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CINDY SHERMAN 2010 Mobile, AL Mobile Museum of Art Kate Clark: Give and Take

1974 New York Metropolitan Museum of Art The Pictures Generation

2011 Bloomfield Hills, MI Cranbrook Art Museum No Object is an Island

1980 New York The Kitchen Solo Exhibition

Asbury Park, NJ Shore Institute of the Contemporary Arts The Sum of Their Parts

1982 Venice, Italy Venice Biennale

Tallahassee, FL Museum of Fine Arts Cute & Creepy

Amsterdam Stedelijk Museum Solo Exhibition

Newburgh, NY Ann Street Gallery In Rare Form

1987 New York Whitney Museum Solo Exhibition

2012 Manitoba, Canada Winnipeg Art Gallery Fairy Tales, Monsters, and the Genetic Imagination 2016 Providence, RI David Winton Bell Gallery Dead Animals and the Curious Occurrence of Taxidermy in Contemporary Art

1991 Basel, Switzerland Kunsthalle Basel Solo Exhibition 1995 Venice, Italy Venice Biennale Washington, D.C. Hirshhorn Museum and Sculpture Garden Solo Exhibition 1996 Rotterdam Museum Boymans-van Beuningen Solo Exhibition 1997 New York Museum of Modern Art Solo Exhibition

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1998 San Francisco San Francisco Museum of Modern Art Solo Exhibition 2003 London Serpentine Gallery Solo Exhibition Scotland Scottish National Gallery of Modern Art Solo Exhibition 2004 New York SITE Santa Fe 2006 Berlin, Germany Martin-Gropius-Bau Solo Exhibition

San Francisco San Francisco Museum of Modern Art Cindy Sherman Show Minneapolis Walker Art Center Cindy Sherman Show 2016 New York City Metro Pictures Gallery The Imitation of Life Los Angeles Broad Museum The Imitation of Life Berlin, Germany Spruth Magers The Imitation of Life

Austria Kunsthaus Bregenz Solo Exhibition A E S T H E T I C A M B I V A L E N C E

Louisiana Louisiana Museum for Modern Kunst Solo Exhibition Denmark Solo Exhibition Paris Jeu de Paume Solo Exhibition 2012 New York Museum of Modern Art Cindy Sherman Show

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2015 Online Presence (Youtube)

1963 Paris Galerie Daniel Cordier Hans Bellmer

2016 Online Presence (Youtube) 2017 Online Presence (Youtube)

1966 London Robert Fraser Gallery Bellmer's de Sade Engravings (closed by police) 1967 Hannover Kestner-Gesellschaft Hans Bellmer 1967 Berlin Kunst-Verein Hans Bellmer 1967 Munich Galerie Wolfgang Ketterer Hans Bellmer 1970 Amsterdam Stedelijk Museum Hans Bellmer 1971 Paris CNAC Archives Hans Bellmer (retrospective) 1975 Chicago Museum of Contemporary Art Hans Bellmer, Drawings and Sculpture 1976 Paris Galerie AndrĂŠ Francois Petit Hommage Ă Hans Bellmer

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1976 Hannover Galerie Brusberg Hommage à Hans Bellmer

1999 Berlin Galerie Berinson Photographs and Drawings for the 30's

1983 Paris Centre Georges Pompidou and Filipacchi Hans Bellmer, Photographe

2001 New York International Center of Photography Behind Closed Doors: The Art of Hans Bellmer

1984 Hannover Kestnergesellschaft Hans Bellmer, Photographien

2006 Paris Centre Georges Pompidou Hans Bellmer: Anatomie du Désir

1985 London Editions Graphiques Hans Bellmer

2006 London Whitechapel Gallery Hans Bellmer

1990 New York Isidore Ducasse Fine Arts Hans Bellmer

2010 Berlin Neue Nationalgalerie Double Sexus: Bellmer - Bourgeois

1991 Champaign Krannert Art Museum Hans Bellmer: Photographs 1992 Issoudun Musée Saint-Roch Hans Bellmer par son Graveur Cécile Reims 1997 Paris Musée-Galerie de la Seita Bellmer Graveur, 1902-1975 1999 New York Ubu Gallery Photographs and Drawings for the 30's

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RON MUECK 1997 London Sensation Exhibition

Mexico Walker Art Center Lifelike

Berlin Sensation Exhibition

2012 Mexico The Antique College of San Ildefonso Lifelike

Brooklyn Sensation Exhibition 2006 Scotland Royal Scottish Academy Building

2014 Buenos Aires Fundacion Proa Solo Exhibition

New York Brooklyn Museum Solo Exhibition

Brazil MAM Solo Exhibition

2007 New York Brooklyn Museum Solo Exhibition

SÃ£o Paulo Pinacoteca Solo Exhibition

Canada National Gallery of Canada Solo Exhibition Texas Modern Art Museum of Fort Worth Solo Exhibition 2008 Pennsylvania The Andy Warhol Museum Ron Mueck at The Andy Warhol Museum 2010 Australia The Christchurch Art Gallery National Gallery of Victoria's Exhibition 2011 New Zealand The Christchurch Art Gallery National Gallery of Victoria's Exhibition 183

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Artists'

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CAO HUI

KATE CLARK

2008 Visual Temperature – Sofa Mixed Material of Resin, Fibre, etc 98x106x108cm

2006 Untitled (Goat) Goat Hide and horns, foam clay, thread, pins, rubber eyes 15 x 24 x 24 inches

Visual Temperature – Purse Mixed Material of Resin, Fibre, etc Visual Temperature – Coat Mixed Material of Resin, Fibre, etc 22x58x88cm Visual Temperature – Sofa No.2 Mixed Material of Resin, Fibre, etc 95x98x106cm + 75x50x40cm 2009 Visual Temperature – Shoes Mixed Material of Resin, Fibre, etc Visual Temperature – Glove Mixed Material of Resin, Fibre, etc 21x10x4cm Visual Temperature – Case Mixed Material of Resin, Fibre, etc 50x55x48cm

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Untitled (Gazelle) Gazelle hide and horns, resin, foam, apoxie, clay, thread, pins, rubber eyes Lifesize Untitled (Gemsbok) Antelope hide, antlers, clay, foam, thread, pins, rubber eyes Lifesize The Widower Wildebeest hide and horns, foam, clay, pins, thread, rubber eyes Lifesize 2007 Untitled (Coyote) Coyote hide, foam, clay, pins, thread, rubber eyes Lifesize A Rough Start bear hide, foam, clay, thread, pins, bear fur, rubber eyes 24 x 29 x 65 inches

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Antics Ibex, bobcat, jack rabbit hides, foam, clay, pins, thread, rubber eyes 88 x 28 x 36 inches

Untitled (Black Bear) bear hide, foam, clay, pins, thread, rubber eyes 27 x 42 x 16 inches

Pack coyote hides, foam, clay, pins, thread, rubber eyes, wood, cardboard 66 x 44 x 92 inches

2009 Composed Antelope hide, antlers, clay, foam, thread, pins, rubber eyes 52 x 14 x 12 inches

Night After Night Blackbuck hide, horns, foam, clay, thread, pins, rubber eyes 48 x 32 x 43 inches Sharp Tongue Coyote hide, foam, clay, pins, thread, rubber eyes Lifesize 2008 Untitled (Gemsbok) Antelope hide, antlers, clay, foam, thread, pins, rubber eyes Lifesize

A E S T H E T I C A M B I V A L E N C E

Matriarch Zebra hide, foam, clay, pins, thread, rubber eyes 29 x 19.5 x 27 inches It Depends Deer hide, antlers, clay, foam, thread, pins, rubber eyes 72 x 19 x 19.5 inches Lit From Within Gazelle hide and horns, foam, clay, pins, thread, rubber eyes, cardboard, wood Lifesize

A Small Distubance Hyena hide, foam, clay, pins, thread, rubber eyes, cardboard 54 x 56 x 38 inches

Untitled (Fallow Deer) Deer hide, antlers, clay, foam, thread, pins, rubber eyes 60 x 42 x 48 inches

Brooding Storm Black bear hide, clay, foam, thread, pins, rubber eyes 23 x 18 x 20 inches

2010 And She Meant It Ram hide, apoxie, clay, foam, thread, pins, rubber eyes 26 x 25 x 21 inches

Little Girl Infant caribou hide, foam, clay, pins, thread, rubber eyes 15 x 28 x 19 inches The Map is Not the Territory Nyala hides, foam, clay, pins, thread, rubber eyes 59 x 90 x 30 inches

Preoccupied Fallow deer and mule deer hide, antlers, clay, foam, thread, pins, rubber eyes 44 x 30 x 24 inches

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Bully Wolf hide, clay, foam, thread, pins, rubber eyes, wood, paints 82 x 42 x 54 inches

Rivalry Baboon hide, foam, clay, pins, thread, rubber eyes, rope 82 x 36 x 36 inches

2011 Untitled (Female Bust) Antelope hide, antlers, clay, pins, thread, rubber eyes 33 x 16 x 16 inches

My Heart Beats Like Thunder Cougar hide, elk hide rug, foam, clay, pins, thread, rubber eyes 39 x 60 x 72 inches

Untitled (Female Bust 2) Antelope hide, horns, clay, pins, thread, rubber eyes, wood 33 x 16 x 16 inches

2013 The Answer to Your Prayers Antelope hide, horns, foam, wood, rubber eyes, thread, pins 30 x 18 x 14 inches

Untitled (Male Bust) antelope hide, horns, clay, pins, thread, rubber eyes, wood 26 x 16 x 16 inches

Untitled (Female Bust 3) Coyote hide, foam, clay, thread, pins, rubber eyes 19 x 14 x 15 inches

Ceremony Gemsbok antelope hide, horns, foam, clay, pins, thread, rubber eyes 120 x 120 x 72 inches

Tale Big Horn sheep hide, resin, foam, apoxie, clay, thread, pins, rubber eyes 29 x 53 x 27 inches

Fortitude Bear hide, foam, clay, pins, thread, rubber eyes, wood, paint 60 x 39 x 68 inches

She Gets What She Wants Zebra hide, foam, clay, rubber eyes, thread, pins 30 x 36 x 22 inches

2012 Untitled (Male Bust 2) Antelope hide, antlers, foam, clay, pins, thread, rubber eyes 32 x 16 x 19 inches

2014 Licking the Plate Kudu hide and horns, foam, clay, thread, pins, rubber eyes 10 x 10 x 4 feet

Pray Antelope hide, horns, foam, clay, pins, thread, rubber eyes 36 x 33 x 17 inches

2015 Choosing Her Words Antelope hide, horns, foam, clay, pins, thread, rubber eyes 36 x 33 x 17 inches

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CINDY SHERMAN Asserting His Influence Waterbuck hide, horns, clay, foam, thread, pins, rubber eyes 48 x 22 x 22 inches Charmed Springbok hide, antlers, clay, foam, thread, pins, rubber eyes, steel and wood base, painted canvas 72 x 40 x 23 inches 2016 Behaving Bear hide, clay, foam, thread, pins, rubber eyes 66 x 26 x 26 inches

A E S T H E T I C A M B I V A L E N C E

1976 Untitled (Film Still #4) Gelatin silver print 10 × 8 in 25.4 × 20.3 cm Edition of 200 Nohra Gaime Gallery 1977 Untitled (Film Still #4) Gelatin silver print 36 1/4 × 42 3/4 × 2 in 92.1 × 108.6 × 5.1 cm National Gallery of Art, Washington, D.C Untitled Gelatin silver print 16 1/4 × 14 1/4 in 41.3 × 36.2 cm Edition of 20 Burning in Water, New York 1978 Untitled (Film Still #07) Gelatin silver print 10 × 8 in 25.4 × 20.3 cm The Broad, Los Angeles Untitled (Film Still #10) Gelatin silver print 8 × 10 in 20.3 × 25.4 cm Edition 2/10 Vivian Horan Fine Arts, New York 1979 Untitled (Film Still #45) Gelatin silver print 10 × 8 in 20.3 × 25.4 cm Whitney Museum of American Art, New York

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Untitled (Film Still #61) Gelatin silver print 10 × 8 in 25.4 × 20.3 cm Edition 8/10 1980 Untitled (Film Still #83) Gelatin silver print 6 9/10 × 9 1/10 in 17.5 × 23 cm Edition 7/10 1981 Untitled #96 Collectors Room, Berlin Untitled #69 Color coupler print 20 × 24 in 50.8 × 61 cm Stellan Holm Gallery, New York 1982 Untitled Chromogenic color print 46 × 46 in 116.8 × 116.8 cm Edition of 10 Metro Pictures, New York Untitled Chromogenic color print 45 × 30 in 114.3 × 76.2 cm Edition of 10 Metro Pictures, New York 1983 Artist in Her Studio Chromogenic print on Kodak paper 20 × 16 in 50.8 × 40.6 cm Caviar20, Toronto

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1984 Untitled #132 C-print 68 9/10 × 46 9/10 in 175 × 119 cm Louisiana Museum of Modern Art, Humlebaek Untitled C-print 39 3/8 × 29 3/8 in 100 × 74.6 cm Edition of 18 1987 Mask With Baby Doll C-print 15 × 20 in 38.1 × 50.8 cm Edition of 125 Caviar20, Toronto Untitled Chromogenic color print 72 × 48 in 182.9 × 121.9 cm Edition of 6 Metro Pictures, New York 1988 Untitled #184 Colour photograph 61 2/5 × 90 9/10 in 156 × 231 cm Elgiz Museum, Istanbul Queen of Hearts Chromogenic print 13 1/2 × 9 in 34.3 × 22.9 cm Caviar20, Toronto

W O R K S

1990 Madame de Pompadour (née Poisson) tea set Porcelain Bernardaud Edition of 75 Artware Editions 1992 Untitled Chromogenic color print 50 × 75 in 127 × 190.5 cm Edition of 6 Metro Pictures, New York Untitled Color photograph 68 × 45 in 172.7 × 114.3 cm Edition of 6 + 1AP Metro Pictures, New York

A E S T H E T I C A M B I V A L E N C E

1993 The Fortune Teller Pocketwatch Brass, crystal, watch parts, and photograph 2 × 1 in 5.1 × 2.5 cm Edition of 150 Untitled Light box with transparency 61 × 39 2/5 × 3 3/10 in 154.9 × 100.1 × 8.4 cm Edition of 15 Schellmann Art, Munich 1994 Untitled #302 Color photography 66 1/6 × 45 in 168.1 × 114.3 cm Antoine Helwaser Gallery, New York

Untitled Chromogenic color print 61 × 41 in 154.9 × 104.1 cm Edition of 6 Metro Pictures, New York 1995 Untitled #315 Collectors Room, Berlin 1999 Untitled #332 From Broken Dolls Series B/W photograph 38 1/2 × 25 1/2 in 97.8 × 64.8 cm Edition 3/10 Sprüth Magers Untitled #333 From Broken Dolls Series B/W photograph 38 1/2 × 25 1/2 in 97.8 × 64.8 cm Edition 8/10 Sprüth Magers 2003 Untitled (Self-portrait with sun tan) Chromogenic print, on photo paper, with full margins 30 × 19 9/10 in 76.2 × 50.5 cm Edition 32/350 2004 Untitled Chromogenic color print 55 × 55 7/8 in 139.7 × 141.9 cm Edition of 6 Metro Pictures, New York

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COOL 3D WORLD 2005 Untitled #447 Chromogenic color print 48 × 72 in 121.9 × 182.9 cm The Broad, Los Angeles 2008 Untitled Chromogenic color print 96 7/8 × 64 in 246.1 × 162.6 cm Edition of 6 Metro Pictures, New York Untitled Black and white photography 10 × 8 in 25.4 × 20.3 cm Edition of 20 + 4AP Metro Pictures, New York 2010 Untitled Chromogenic color print 34 × 23 1/4 in 86.4 × 59.1 cm Edition 2/10 + 2AP Untitled Chromogenic color print 68 × 96 3/8 in 172.7 × 244.8 cm Metro Pictures, New York 2011 Untitled Colour photograph 60 1/4 × 119 in 153 × 302.3 cm Edition of 6 Gagosian Gallery

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2015 Portraits Film & Animation Youtube Strawberry Film & Animation Youtube Torture Film & Animation Youtube The Egg 4 Film & Animation Youtube The Summoning of the Skylark Film & Animation Youtube 2016 Panini Film & Animation Youtube The Dinner Film & Animation Youtube Cupcake Film & Animation Youtube Frankies Fright V Film & Animation Youtube The Bottle Film & Animation Youtube Via Serena Film & Animation Youtube

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A E S T H E T I C A M B I V A L E N C E

The Dreaming Boy Film & Animation Youtube

Toe Rings Film & Animation Youtube

A Life Well Lived Film & Animation Youtube

The Light Film & Animation Youtube

Men in Chairs Film & Animation Youtube

Cello Film & Animation Youtube

Worlds Film & Animation Youtube

Poke 2 Film & Animation Youtube

Basketball Film & Animation Youtube

Harmony 3 Film & Animation Youtube

Rooms Film & Animation Youtube

Butt Tube Film & Animation Youtube

Peppers n Onions Film & Animation Youtube

Clowns Film & Animation Youtube

See Saw Film & Animation Youtube

The Boat Film & Animation Youtube

The Healer Film & Animation Youtube

2017 Nailcut Film & Animation Youtube

Cool 3D World Film & Animation Youtube Pathways Film & Animation Youtube

Live Laugh Love Film & Animation Youtube The Chiller Film & Animation Youtube

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HANS BELLMER The Magician Film & Animation Youtube Rock & Roll Film & Animation Youtube The Bottle 2 Film & Animation Youtube Creation Film & Animation Youtube Rollercoaster Film & Animation Youtube

1934 La Poupeé ("The Doll") Vintage gelatin silver print 3 × 2 1/4 in 7.6 × 5.7 cm Ubu Gallery 1935 La Poupeé ("The Doll") From the series Series on Poupée Silver print unmounted 19 × 19 in 48.3 × 48.3 cm La Poupeé ("The Doll") Hand-colored vintage gelatin silver print affixed to contemporary archival mount 16 3/8 × 16 1/2 in 41.6 × 41.9 cm Ubu Gallery 1937 La mitrailleuse en état de grâce (The Machine Gun[neress] in a State of Grace) Gelatin silver print with oil and watercolor mounted on board 26 × 26 in 66 × 66 cm San Francisco Museum of Modern Art, San Francisco 1946 Sans titre, étude pour 'La bicyclette' d'Histoire de l'Oeil Galerie Natalie Seroussi Untitled Graphite and white gouache on paper 5 1/2 × 3 5/8 in 14 × 9.2 cm David Nolan Gallery, New York

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1949 The Doll ("La Poupeé") Gelatin Silver Print 39 4/5 × 39 4/5 in 101 × 101 cm Les jeux de la poupée (The Games of the Doll) Edition 28/136 15 hand-colored gelatin silver prints plus 2 trimmed, hand-colored gelatin silver prints, all mounted within the artist’s book; Paris: Les Éditions Premières 10 × 7 4/5 × 1/2 in 25.4 × 19.7 × 1.3 cm 1954 Ohne Titel Pencil on paper 5 1/2 × 3 9/10 in 14 × 10 cm Levy, Hamburg

A E S T H E T I C A M B I V A L E N C E

1958 Talon Aiguille ("Stiletto") Oil, pen, ink & gouache on canvas 25 3/4 × 25 3/4 in 65.4 × 65.4 cm Ubu Gallery 1960 Gedanken (Ed. 62 of 100) Etching 25 3/5 × 19 7/10 in 65 × 50 cm Hans Art, Westmount Untitled Pencil on graph paper 8 1/2 × 6 1/2 in 21.6 × 16.5 cm Ubu Gallery

1965 Souterrain No. 13 and Les milles en feu (two works) Edition 43/100 Lithograph; etching 20 × 26 in 50.8 × 66 cm Souterrain No. 13 (Edition of 100) On BFK Rives 25 1/2 × 31 in 64.8 × 78.7 cm RoGallery Untitled - Four Women 20 × 26 in 50.8 × 66 cm Untitled II (Edition of 100) Etching 19 1/2 × 26 1/2 in 49.5 × 67.3 cm Nikola Rukaj Gallery, Toronto 1967 Untitled - Nude in Heels 21 1/2 × 17 1/2 in 54.6 × 44.5 cm RoGallery 1970 Les Milles en Feu 20 × 26 in 50.8 × 66 cm RoGallery 1971 Au Café Etching on Arches Verlinpaper 25 4/5 × 19 9/10 in 65.5 × 50.5 cm Galerie Thomas, Munich

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RON MUECK 1972 Untitled 3 (Edition 12/20 + OAP) 26 × 20 in 66 × 50.8 cm RoGallery Untitled (Edition of 150) Etching printed in colours 26 × 19 9/10 in 66 × 50.5 cm 1975 Les Bas Rayes from An American Portrait, Volume II: Not Songs of Loyalty Alone Lithograph Dallas Museum of Art, Dallas

1996 Big Baby Model of baby with oversize eyes. Silicone, polyurethane, wood, synthetic hair 85cm high Private collection Mongrel Mongrel dog. Polyester resin, fiberglass, synthetic fur Life Size Collection of Sheilagh Tennant, Edinburgh Pinocchio Standing boy, perhaps 5 years of age, wearing only underpants. Mixed Media John and Amy Phelan Collection, New York Dead Dad Sculpture of Mueck's father lying on his back, naked. Silicone, acrylic paint and human hair 2/3 Life-sized Sculpture Stefan T. Edlis Collection, Chicago 1997 Angel Boy seated on a tall stool, in a brooding pose looking down, sprouting wings made of real goose feathers. Mixed Media 1/3 Scale Hoffman Collection, Dallas Big Baby II Model of baby. Polyester resin, fiberglass, silicone, synthetic hair. 85cm high Caldic Collectie, Rotterdam Big Baby III Model of baby. Polyester resin, fiberglass, silicone, synthetic hair, cotton 85cm high Stefan T. Edlis Collection, Chicago

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A E S T H E T I C A M B I V A L E N C E

Man in a Sheet Man wrapped in a sheet, bending forward to gaze at floor. Polyester resin, fiberglass, silicone, synthetic hair, cotton Olbricht Collection, Germany

Seated Woman Clothed, seated, elderly woman, hands clasped, eyes almost closed. Fibreglass, resin, silicone. 1/2 Scale Modern Art Museum of Fort Worth

Mask (Self Portrait) Reproduction of Mueck's own face, frowning. Polyester resin, fiberglass, silicone, synthetic hair, cotton 8ft high Nasher Museum of Art

Crouching Boy in Mirror Figure similar to the Millennium Boy, above, but on a much smaller scale, examining his reflection in a mirror. Mixed Media The Broad Art Foundation, Santa Monica

1998 Ghost Adolescent girl, in swimming costume, leaning against a wall, face averted. Mixed Media 2m tall Tate Gallery

2000 Baby Tiny naked newborn baby boy, arms akimbo. Mixed Media Keith and Kathy Sachs

Man Under Cardigan Naked man, sitting on floor, a woollen cardigan held over his head as if to shelter from rain. Silicone, polyurethane, polyester resin Aluminum wire, wool 2m tall Vicki and Kent Logan Collection

Untitled (Big Man) Sculpture of a naked, completely hairless, belligerent-looking man sitting with his knees drawn up and his elbows resting on his knees, his head in his hand. ~7ft tall Hirschhorn Museum and Sculpture Garden

Shaved Head Naked man, squatting, arms stretched out, head turned downwards. Mixed Media Hoffman Collection, Berlin

Man in Blankets Elderly naked man almost completely enveloped in blankets, which form a kind of cocoon. Mixed Media 1/2 Scale Hoffman Collection in Dallas Kunstsammlung Nordrhein-Westfalen

1999 Boy Sculpture of a boy, crouching. Fibreglass, resin, silicone 5m tall Art Museum ARoS

Old Woman in Bed Very elderly or dying woman lying in bed, draped in blankets, asleep. Mixed Media 1/2 Scale National Gallery of Canada

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Standing Man Middle-aged or elderly man dressed in gown and duffle coat. Mixed Media Private Collection, Milan 2001 Mask II Huge head (the face appears to be Mueck's own), lying on its side as if asleep. Private Collection 2002 Mother and Child Naked woman who has just given birth, the baby laid on her stomach with umbilical cord still attached and trailing to the woman's womb. 1/2 Scale Bayerische Staatsgemaeldesammlungen, Munich Man in a Boat Naked man seated toward the prow of a 4-metre-long rowing boat. Mixed Media 1/3 Scale Private Collection Pregnant Woman Sculpture of a naked pregnant woman clasping her hands above her head. Fibreglass, resin, silicone 2.5m tall National Gallery of Australia Swaddled Baby Life-sized new-born baby wrapped in swaddling clothes, head on a pillow. Mixed Media 2003 Head of a Baby Huge head of a baby. Mixed Media National Gallery of Canada

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2004 Baby on a Chair Baby wrapped in blanket, placed on a wooden chair. Mixed Media Colletion Glenn Fuhrmann, New York 2005 In Bed Huge woman lying in bed, hand raised to her face in a contemplative pose. Mixed Media 3X Scale Queensland Gallery of Modern Art Mask III Huge face of a woman. Mixed Media 1.5m tall Anthony d'Offay Spooning Couple Partially clothed middle-aged man and woman lying in "spooning" position as if in bed. Mixed Media 1/2 Scale Anthony d'Offay Two Women Two diminutive, clothed, elderly women, standing as though gossiping. Mixed Media National Gallery of Victoria, Australia Wild Man Sculpture of a naked, bearded, fearful man clutching the stool he is seated on. Mixed Media 9ft McClelland Gallery and Sculpture Park, Langwarrin McClelland Gallery and Sculpture Park, Victoria McClelland Gallery and Sculpture Park, Australia

W O R K S

2006 A Girl Newborn baby, with part of umbilical cord and some blood. Mixed Media National Gallery of Canada

2013 Couple under an Umbrella Caldic Collective, Wassenaar Woman with Shopping Hauser & Wirth / Anthony d'Offay, London

2007 Standing Woman Middle-aged woman, dressed in black. Mixed Media 4m high Towada Arts Center of Japan 2008 Woman with Sticks Model of naked woman, bent backwards, carrying huge bundle of sticks. Mixed Media 180cm high Private Collection

A E S T H E T I C A M B I V A L E N C E

2009 Drift Man floating on his back on inflatable raft, wearing sunglasses and swimming trunks. Mixed Media 2/3 Scale Anthony d'Offay Still Life Slaughtered and plucked chicken, same size as a human being, hung from hook by its feet. Mixed Media Anthony d'Offay Youth Diminutive figure of a black youth, holding up his T-shirt to examine a wound in his belly. Mixed Media 65cm high Anthony d'Offay

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Bibliography

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Andersen, Lydia. "The Uncanny: Where Psychology Meets Art." The White Cube Diaries. N.p., 30 Jan. 2016. Web. 30 Mar. 2017. Bruin-MolĂŠ, Megen De. "The Uncanny." Angels and Apes. N.p., 22 Mar. 2017. Web. 30 Mar. 2017. "Cindy Sherman." 142 Artworks, Bio & Shows on Artsy. N.p., n.d. Web. 30 Mar. 2017. "Cool 3D World." YouTube. YouTube, n.d. Web. 30 Mar. 2017. "Freud, "The Uncanny"." Freud, "The Uncanny". N.p., n.d. Web. 30 Mar. 2017. "Hans Bellmer." 22 Artworks, Bio & Shows on Artsy. N.p., n.d. Web. 30 Mar. 2017. "Hans Bellmer." Wikipedia. Wikimedia Foundation, 28 Mar. 2017. Web. 30 Mar. 2017. Revue_esse. "Dossier | Uncanny: A Dimension in Contemporary Art." Esse Arts + Opinions. N.p., n.d. Web. 30 Mar. 2017. "The Indigestible Fleshy Sculpture of Cao Hui." Designboom | Architecture & Design Magazine. N.p., 24 Feb. 2017. Web. 30 Mar. 2017. "The Progress Big Man: A Conversation with Ron Mueck by Sarah Tanguy." International Sculpture Center. N.p., n.d. Web. 30 Mar. 2017. "Works." KATE CLARK STUDIO. N.p., n.d. Web. 30 Mar. 2017. Xavier, Francis. "A Conversation with Artist and Sculptor Kate Clark." AXS. N.p., 27 Jan. 2016. Web. 30 Mar. 2017.

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Colophon

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Designed & Edited by: Rachel Cho Printed by: Typecraft, Pasadena Size: 8"x10" Bound by: Jennifer Pfiffer Term: ACCD Spring 2017 Course: Type 4 Professor: Stephen Serrado Worked at: Art Center (Hillside Campus) Art Center (South Campus) Home (95 N San Marino Ave.) Programs: Adobe Photoshop CC Adobe InDesign CC Adobe Acrobat

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