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Feminist painting is born from the sweeping movements of the broom, everyday ordinariness, in the space of an empty studio. In this conceptual photography, there is a large dose of staging and stage-like performance. Because the camera was placed below eyesight, we – the viewers looking at the photographs – get the impression of sitting in the front row, right next to the author, as if she was creating her abstract composition just for us. This perspective also evokes the point of view of a small child, and perhaps the artist's son, who appears here for the first time, on the other side of the camera, observing his mother-artist at work.

Malarstwo feministyczne is one of Kutera’s early works, in which the question of the relationship between art and life comes to the fore as an indication of themes appearing in subsequent series, such as Sytuacje stymulowane [Stimulated Situations] (1975-1989) that explore the role and impact of coincidence, circumstances, and staged and real events for the social reception of art.

 

  • Object type:
    8 analogue black and white photographs (contemporary prints)
  • Year:
    1973
  • Dimensions:
    50 × 50 cm each
  • inv. no.:
    MNG/NOMUS/48/D/1-8
  • Własność:
    Deposit of the City of Gdańsk, part of the Gdańsk Collection of Contemporary Art.
Anna Kutera, Malarstwo feministyczne, 1973. Depozyt Gminy Miasta Gdańska w ramach Gdańskiej Kolekcji Sztuki Współczesnej, fot. © Archiwum MNG
fot. © Archiwum MNG
  • Object type:
    8 analogue black and white photographs (contemporary prints)
  • Year:
    1973
  • Dimensions:
    50 × 50 cm each
  • inv. no.:
    MNG/NOMUS/48/D/1-8
  • Własność:
    Deposit of the City of Gdańsk, part of the Gdańsk Collection of Contemporary Art.

Feminist painting is born from the sweeping movements of the broom, everyday ordinariness, in the space of an empty studio. In this conceptual photography, there is a large dose of staging and stage-like performance. Because the camera was placed below eyesight, we – the viewers looking at the photographs – get the impression of sitting in the front row, right next to the author, as if she was creating her abstract composition just for us. This perspective also evokes the point of view of a small child, and perhaps the artist's son, who appears here for the first time, on the other side of the camera, observing his mother-artist at work.

Malarstwo feministyczne is one of Kutera’s early works, in which the question of the relationship between art and life comes to the fore as an indication of themes appearing in subsequent series, such as Sytuacje stymulowane [Stimulated Situations] (1975-1989) that explore the role and impact of coincidence, circumstances, and staged and real events for the social reception of art.

 

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