PUBLISHER
Hauser & Wirth Publishers

BOOK FORMAT
Clth, 8.75 x 10.5 in. / 136 pgs / 44 color / 6 bw.

PUBLISHING STATUS
Pub Date 4/30/2010
Active

DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2010 p. 94

PRODUCT DETAILS
ISBN 9783952363003 TRADE
List Price: $45.00 CAD $60.00

AVAILABILITY
In stock

TERRITORY
NA LA ASIA

EXHIBITION SCHEDULE

New York
Hauser & Wirth, 01/19/10-03/06/10

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Ida Applebroog: Monalisa

Text by Julia Bryan-Wilson.

In 2009, a box of forgotten notebooks was rediscovered in the basement of Ida Applebroog's studio--Strathmore drawing tablets, with the words "Vagina Drawings" scrawled on the cover. Forty years prior, Applebroog took sanctuary from the pressures of the home in an evening bath. Her nightly soak offered her moments of meditation and, equipped with her drawing pad, she began drawing portraits of her crotch. Applebroog's newest body of work, Monalisa, is in many ways an extension of that ritual. The centerpiece of this project is a room-sized wooden structure covered with more than 100 new vagina drawings--reappropriations of the 1969 originals. In the catalogue essay, Julia Bryan-Wilson contends that the installation, "with its signature figural obsessions and urgent feminist force, feels like an epic culmination of [Applebroog's] entire oeuvre." Monalisa offers new insight into Applebroog's work with full-color reproductions of the never-before-seen 2009 drawings, images of the installation and an essay by Julia Bryan-Wilson.

"A few ink stains and blotches punctuate the fluidity of Applebroog's lines, and occasionally delicate washes fill the paper as she deploys the full range of tools at her disposal. Yet it is misleading to call this series a purely dispassionate aesthetic exercise, the product of a detached eye. Applebroog depicted her own vagina with little investment in fidelity, and with full awareness that such a form is high charged, loaded with cultural and symbolic weight."
Julia Bryan-Wilson, excerpted from Our Bodies, Our Houses, Our Ruptures, Ourselves in Monalisa, from which this image is also reproduced.

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FROM THE BOOK

"What does it mean to display one's 'private parts' as Applebroog has? At stake here is the disruption of the boundaries between private and public spheres--or, to reiterate the famed slogan, the collapse between personal and political within feminism, the house has a further connotation as the fraught realm of women's labor. In 1969, when she made her drawings, the forms of labor that Applebroog was engaged in--working as an artist, working as a mother--were not traditionally valued or justly compensated. The women's movement, in fact, took up the question of the gendered division of labor right at this moment. Housework was increasingly understood as implicated in patriarchal systems of oppression, as outlined in texts such as Pat Mainardi's rallying cry, 'The Politics of Housework," first published in 1969. Thus, in the Monalisa project, as in Applebroog's past work, the home is not a stable location but an unfixed nexus of sexist violence, perversion, and thwarted safety, as well as tenderness, secret stolen moments, bodily pleasure and honest labor."

Julia Bryan-Wilson, excerpted from Our Bodies, Our Houses, Our Ruptures, Ourselves in Monalisa.

A FEMINIST ART BOOKSHELF