Orshi Drozdik

From Wikipedia, the free encyclopedia
Orshi Drozdik
Birth name Orsolya Drozdik
Born February 15, 1946
Abda, Hungary
Awards Munkacsy Mihaly Award, 2003 hu:Munkácsy-díj

Orshi Drozdik (born February 15, 1946) is a Hungarian feminist artist, based in New York. Her work consists of series of installations exploring connected themes, sometimes over many years.

Biography

Drozdik was born in Abda, Hungary and studied art at The Hungarian University of Fine Arts (1970–77). She started to exhibit in Budapest in 1975 and worked in association with the "Rozsa" (Roses), a young artists post-conceptual group (1976–78). In 1980 she moved to New York and worked in association with artist group Colab in the early 1980s. She lived with Patrick McGrath,[1] the writer, in Vancouver, Toronto and in New York (1979–1991).

Works

Her works Individual Mythology (1975–77) and Nude model (1977), comprising performance, photography, offset prints and drawings, were exhibited in Budapest. The Pornography (1978) series was completed in Amsterdam, I Try To Be Transparent (1980) performance and the Double (1980) in Toronto.

Her installation series Adventure in Technos Dystopium (1984–1993) deconstructed scientific representations of truth. For this series the artist created a fictional 18th century female scientist called Edith Simpson. Themes she explored were: the romanticisation of disease and the taxonomic formalism of Carolus Linnaeus. From 1989 she used models of her father's brain as part of sculptural installations.[2]

Her installation series entitled Manufacturing the Self (1993–97) is a deconstruction of medical representations of the female body. Her 1993/4 exhibition Medical Erotic, part of the Manufacturing the Self series,[2] featured a cast of the artist's body alongside photographs of a medical wax-work figure and a fictional journal.[3][4] The installation Manufacturing The Self, Brains on High Heels (1992) is a rubber cast of a brain put into a pair of high heels.

In the series of Lipstick Paintings ala Fontana (2002–06) the surface of canvases are punctured with lipstick. The series of digital prints Venuses, Drapery and Bodyfolds (2000–2007)[5] featured fragments of draperies and naked women from the history of painting.

References

  1. ↑ Weird Tales From an Offbeat Childhood - New York Times
  2. ↑ 2.0 2.1 John C. Welchman, Art After Appropriation: Essays on Art in the 1990s, Routledge, 2001, p112. ISBN 978-90-5701-043-9
  3. ↑ Reagan Upshaw, Orshi Drozdik at Tom Cugliani - installation art - New York, New York - Review Of Exhibitions, Art in America, Jan 1994.
  4. ↑ Holland Cotter, Art in Review, The New York Times, June 11, 1993.
  5. ↑ MUSEUM.HU - Budapest Gallery - The exhibition of Drozdik Orsolya - Venuses: Draperies and Bends of the Body

External links

Authority control
This article is issued from Wikipedia. The text is available under the Creative Commons Attribution/Share Alike; additional terms may apply for the media files.