Physiognomien [5]

Appearances can be deceiving. Jürgen Klauke’s important early performance piece explores the fluidity of gender and sexuality, and his choice of materials extends this subversion of expectations. Playing with costume, makeup, and pose, Klauke challenges the signs that traditionally define gender identity. Similarly, the pictures appear to be black-and-white photographs but were in fact printed on color paper. Over time, the dyes that form the image might degrade, altering the work’s current gray tonality and creating unwanted casts of color. To avoid this, conservators keep Klauke’s prints in cold storage, with color photographs.

Sull’opera

Scheda

Sotto lo stesso tetto: Art Institute of Chicago

Sullo stesso tema · Self-portraits

Al momento non riceve

Che cosa raffigura

In catalogo

Fonti

Physiognomien [2]

Physiognomien [3]

Physiognomies (Physiognomien)

Physiognomien [4]

Physiognomien [7]

Physiognomien [6]

Physiognomien [8]

Physiognomien [1]

The Bedroom, 1889

Una domenica pomeriggio sull'isola della Grande-Jatte, 1884–86, border added 1888–89

Strada di Parigi in un giorno di pioggia, 1877

Sulla terrazza, 1881

il cesto di mele, c. 1893

Stacks of Wheat (End of Summer), 1890–91

American Gothic, 1930

I nottambuli, 1942

Self-Portrait with a Straw Hat (obverse: The Potato Peeler), 1887

Self-Portrait, 1660

Rubens, Helena Fourment (1614–1673), and Their Son Frans (1633–1678), ca. 1635

The Jabach Family, ca. 1660

Self-Portrait, ca. 1855–56

[Self-Portrait with Christine and Yvonne Lerolle], probably 1895–96

Self-Portrait with Two Pupils, Marie Gabrielle Capet (1761–1818) and Marie Marguerite Carraux de Rosemond (1765–1788), 1785

Self-Portrait, ca. 1620–21