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.
six paintings (photoemulsion, synthetic polymer paint on canvas); one framed colour transparency; broken fragments of sandstone with photoemulsion; one stepped wooden pyramid
Installation dimensions variable according to room size :
a-f - six paintings; 180 x 91 cm; each
g - framed colour transparency; 180 x 91 cm; variable
h - wooden pyramid; 60 x 60 x 60 cm
i-n - 6 piles of sandstone fragments
Not on display
© Julie Rrap, Courtesy Roslyn Oxley9 Gallery
Shown in 2 exhibitions
The Australian Bicentennial Perspecta:
- Art Gallery of New South Wales, Sydney 14 Oct 1987–29 Nov 1987
- Art Gallery of Western Australia, Perth 05 Mar 1988–17 Apr 1988
- Frankfurt Kunstverein, Frankfurt am Main Sep 1988–Oct 1988
- Wurttembergische Kunstverein, Stuttgart, 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, Sydney, 08 Mar 1995–04 Jun 1995
Referenced in 3 publications
George Alexander, The Australian Bicentennial Perspecta, 'Julie Brown-Rrap', pg. 8-15, Sydney, 1987, 1, 11, 14.
Victoria Lynn, Look, 'Identity and the Body', pg. 12-13, Heidelberg, Sep 1994, 3 (colour illus.), 13 (colour illus.). The image appearing on page 3 is in detail.
Victoria Lynn, Review: works by women from the permanent collection of the Art Gallery of New South Wales, "Women Artists in the Contemporary Collection", Victoria Lynn, p13-15, Sydney, 1995, 14, 25.