ART WIKI33.040 in sala
MappaCollezioneArtistiMuseiMostreRivista
Accedi

ART WIKI

Dove è appeso il capolavoro, e quando si può entrare.

Collezioni: Art Institute of Chicago, Cleveland Museum of Art, Ermitage, Galleria Tret'jakov, Getty Museum, Harvard Art Museums, Hirshhorn Museum and Sculpture Garden, Metropolitan Museum of Art, Minneapolis Institute of Art, Museo del Louvre, Museo Puškin delle belle arti, Museo russo, Museum of Modern Art, National Gallery of Art, National Museum of Asian Art, National Portrait Gallery, Rijksmuseum, Smithsonian American Art Museum, Statens Museum for Kunst, Victoria and Albert Museum, Villa Getty, Whitney Museum of American Art, Catalogo statale del fondo museale russo (274 musei), Europeana (19 musei), Wikidata (6 musei), Paris Musées (12 musei) e Joconde, la banca dati dei musei del Ministero della Cultura francese (495 musei). Le immagini appartengono ai titolari dei diritti.

Sezioni

  • Mappa
  • Ricerca
  • Collezione
  • Capolavori
  • Esposte ora
  • Artisti

Altro

  • Musei e gallerie
  • Mostre
  • Rivista
  • Da dove vengono i dati
  • Privacy e cookie
HomeMappaCatalogo
  1. Collezione/
  2. Minneapolis Institute of Art/
  3. Cinderella Shoes
Cinderella Shoes, Silvia Levenson, 1999
SSilvia LevensonArgentina

Cinderella Shoes

1999 · Sculpture, Glass · 9.68 × 6.99 cm

Sulla scultura

Argentinian artist Silvia Levenson grew up amidst the atrocities of life under military dictator Jorge Rafael Videla and his Guerra Sucia (Dirty War) of the 1970s and early 1980s. In 1981, after three years in hiding, Levenson fled her home with her husband and two children to Italy. There, after a decade of dabbling in more decorative works, Levenson moved toward expressing the social and political struggles of her adolescence through the medium of glass.

Continua a leggere

Consequently, Levensons's work is known for its undercurrent of political and domestic commentary that is autobiographical while simultaneously ironic and detached. She finds glass to be an excellent medium for this because of its ambiguity. Glass is something both familiar, because of its use in every-day life, and dangerous, due to its ability to be sharp and thus do harm. This dual-nature is further emphasized through Levenson's subjects as she skeptically reveals the sinister side of everyday household items, thus creating beauty in combination with dangerous things. In Cinderella Shoes, Levenson alludes to the fairy tale life of a fair maiden being rescued from a life of household duties and familial abuse and being led to a Prince Charming through her glass slippers. However, the artist twists the tale by placing a nail inside the shoe where it would stick into the wearer's heel. Thus, Levenson's depiction of fairy tale life reveals traditional love and marriage to be just as much an entrapment as Cinderella's previous domestic bondage.

Minneapolis Institute of Art

Scheda

Numero di inventario
2012.112.15a, b

Nella stessa sala · G260, Minneapolis Institute of Art

Pagina del museo

Si può ammirare?

Sì, riceve visite

Minneapolis Institute of Art

Minneapolis, Stati Uniti

SalaG260

Esposta al pubblico. Chi lo garantisce è indicato qui sotto.

Verificato
9 giorni fa
Ultimo cambio di stato
25 set 2026
Fonte
Il museo
Sulla mappaPagina del museo

In catalogo

SculturaArte contemporaneaXX secoloArgentina

Fonti

  • Minneapolis Institute of Art
  • Immagine: Minneapolis Institute of Art — © Silvia Levenson
Animal totem, Guy Nutarariaq, 2009

Guy Nutarariaq

Animal totem, 2009

Bear, c. 1990

Bear, c. 1990

Bear Mask, Frank Big Bear, 1983

Frank Big Bear

Bear Mask, 1983

Chalchiuhtlicue, c. 1200–1521

Chalchiuhtlicue, c. 1200–1521

Mask, c. 250–600

Mask, c. 250–600

Yoke, c. 600–900

Yoke, c. 600–900