(Australia 1950– )
Installation dimensions variable according to room size:
a-f - six paintings; 180 x 91cm; each
g - framed colour transparency; 180 x 91cm; variable
h - wooden pyramid; 60 x 60 x 60cm
i-n - 6 piles of sandstone fragments
This installation by Sydney artist Julie Rrap is based on sculptural works by the artists Michelangelo, 'The dying slave' and 'The rebellious slave' and Rodin, 'The shadow (from the gate of hell)', 'Adam', 'The thinker' and 'The prodigal son'. The artist has photographed herself in the replicated pose of each of these six works and beneath each image are what resemble archaeological shards with sections of the original sculptures photographed onto these shards in piles laid out on the floor. The work is a playful dialogue between self and other and the narratives that have situated women within male iconographies of art history.
Deborah Edwards (Australia) (Author), Daphne Wallace (Australia, b.1964) (Author), Margo Neale (Australia) (Author), Victoria Lynn (Australia) (Author), Sandra Byron (Australia) (Author), Review: works by women from the permanent collection of the Art Gallery of New South Wales, Domain, 1995, 14, 25.
'Identity and the Body' by Victoria Lynn, pg. 12-13., Look Sep 1994, Sep 1994, 3 (colour illus.), 13 (colour illus.). The image appearing on page 3 is in detail.
Anthony Bond (England; Australia) (Editor), The Australian Bicentennial Perspecta, Domain, 1987, 1, 11, 14.
The Australian Bicentennial Perspecta, Art Gallery of New South Wales, 14 Oct 1987–29 Nov 1987.
The Australian Bicentennial Perspecta, Art Gallery of Western Australia, 05 Mar 1988–17 Apr 1988.
The Australian Bicentennial Perspecta, Frankfurt Kunstverein, Sep 1988–Oct 1988.
The Australian Bicentennial Perspecta, Wurttembergische Kunstverein, Stuttgart, Mar 1989–Apr 1989.
Review - works by women from the permanent collection of the Art Gallery of New South Wales, Art Gallery of New South Wales, 08 Mar 1995–04 Jun 1995.