The Venus series. Iowa Research Online. University of Iowa. Lindsey Alissa Beal University of Iowa. Theses and Dissertations.
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1 University of Iowa Iowa Research Online Theses and Dissertations Spring 2011 The Venus series Lindsey Alissa Beal University of Iowa Copyright 2011 Lindsey Beal This thesis is available at Iowa Research Online: Recommended Citation Beal, Lindsey Alissa. "The Venus series." MFA (Master of Fine Arts) thesis, University of Iowa, Follow this and additional works at: Part of the Art Practice Commons
2 THE VENUS SERIES by Lindsey Alissa Beal A thesis submitted in partial fulfillment of the requirements for the Master of Fine Arts degree in Art in the Graduate College of The University of Iowa May 2011 Thesis Supervisor: Professor James Snitzer
3 Copyright by LINDSEY ALISSA BEAL 2011 All Rights Reserved
4 Graduate College The University of Iowa Iowa City, Iowa CERTIFICATE OF APPROVAL MASTER'S THESIS This is to certify that the Master's thesis of Lindsey Alissa Beal has been approved by the Examining Committee for the thesis requirement for the Master of Fine Arts degree in Art at the May 2011 graduation. Thesis Committee: James Snitzer, Thesis Supervisor Isabel Barbuzza Timothy Barrett Thomas Christison Anita Jung Margaret Stratton
5 ACKNOWLEDGMENTS Thanks first and foremost to Heather Wetzel, who taught me wet-plate collodion. Heather opened up her house and darkroom for me to create this body of work. With her patient tutelage and generosity, she encouraged and guided me through this project. I cannot thank her enough for her support. Thanks to Dave Heffner and Jim Snitzer for suggesting I photograph the figures with a non-digital method. They helped pave the way for these images. Thank you to Ann Marie Kennedy for introducing me to papermaking and how to create creative works within this medium. You converted a skeptic--my art will never be the same. Finally, thank you to my husband Chris Klaus. You help me in such immense ways that I cannot list them all. You are my sounding board, inspiration, support and most of all, my best friend. Thank you for your patience and guidance with all of my crazy projects; I cannot begin to thank you enough but hopefully, this dedication might be a start. ii
6 ABSTRACT The Venus Series is an attempt to recreate the power, mystery and primal beauty of the pre-historic Venus Figurines. I created my own Venus Figurines out of handmade paper incorporating history, contemporary culture and autobiography. I then photographed these sculptures with the wet-plate collodion process in order to re-create the beauty and drama of the original Venus Figurines. iii
7 TABLE OF CONTENTS LIST OF FIGURES...v THESIS...1 ARTIST STATEMENT...4 iv
8 LIST OF FIGURES Figure 1: Ambrotype #1...5 Figure 2: Ambrotype #2...6 Figure 3: Ambrotype #3...7 Figure 4: Ambrotype #4...8 Figure 5: Ambrotype #5...9 Figure 6: Ambrotype # Figure 7: Ambrotype # Figure 8: Ambrotype # Figure 9: Ambrotype # Figure 10: Ambrotype # Figure 11: Ambrotype # Figure 12: Ambrotype # Figure 13: Ambrotype # Figure 14: Ambrotype # Figure 15: Ambrotype # Figure 16: Ambrotype # Figure 17: Ambrotype # Figure 18: Ambrotype # Figure 19: Ambrotype # Figure 20: Alumitype # Figure 21: Alumitype # Figure 22: Alumitype # Figure 23: Alumitype # Figure 24: Alumitype # Figure 25: Alumitype # v
9 Figure 26: Alumitype # Figure 27: Alumitype # Figure 28: Alumitype # Figure 29: Alumitype # Figure 30: Alumitype # Figure 31: Alumitype # Figure 32: Alumitype # Figure 33: Alumitype # Figure 34: Alumitype # Figure 35: Alumitype # Figure 36: Alumitype # Figure 37: Alumitype # Figure 38: Alumitype # Figure 39: Alumitype # Figure 40: Alumitype # Figure 41: Alumitype # Figure 42: Alumitype # Figure 43: Alumitype # Figure 44: Alumitype # Figure 45: Alumitype # Figure 46: Alumitype # Figure 47: Installation # Figure 48: Installation # Figure 49: Installation # Figure 50: Installation # vi
10 1 THESIS Venus Figurines is a term used for the small, carved female figures found in Europe and the Middle East from the Upper Paleolithic era. They were first discovered in the late 19 th century and continue to be found today. Victorian archeologists inaccurately labeled these early discoveries Venuses to describe the Paleolithic s standards of beauty: large hips, breasts and stomachs. However, later female figures from other regions and eras that do not share these physical traits were also called Venus Figurines. The inaccuracy of the Victorian s label reflects more on the Victorian culture and their values than it does on the culture that created the figurines. A proper name still does not exist to distinguish between the various cultures female sculptures. Archeologists and historians still do not know much about these figures and it is that lack of knowledge that adds to their mystery. There are a great deal of speculation and theories on the Venuses meaning. They have been described as fertility symbols, sex symbols, goddess representations, symbols of plenty, ancient dildos and children s toys. The figures have been interpreted as the culture s valued female characteristics, representations of Paleolithic body types and proof of a matriarchal society. Their varied traits, sizes and locations add to this mystery. The figurines have been found in homes, caves and temples, found worn around the neck, as well as buried with women. Most are small and easily portable, while others are lifesized. Many have full breasts, hips and stomach, though others are rail-thin and lack defining female attributes. Since their discovery, these figurines continue to intrigue and mystify viewers. They have influenced such varied artists as Irving Penn, Louise Bourgeois, Kiki Smith, Jean Arp, Constantin Brancusi and Amedeo Modigliani. Some feminists have claimed them as proof of a Goddess culture, while others have rejected them as representing essentialism at its worst. Regardless of the conflicting meaning, theory and interpretations; these figurines still capture our attention and imagination. The Venus Series is my attempt to re-create the power, mystery and
11 2 primal beauty these forms have for me while bringing them into a contemporary context for the viewer. I created my own Venus figures in high-shrinkage flax paper. I beat raw flax for five and a half hours and pulled sheets. The sheets were then pressed, but not dried; instead, I wrapped my female forms with them and allowed the sheets to air-dry. After drying was complete, I removed and then seamed the paper figures back together. Each figure used the same form and material but was altered in some way, whether in embellishments of paper or thread, by changing the figure s height or shape, by adding arms or by simply emphasizing the torso. I tried to represent the variety of forms that make up the Venus Figurines that also reflect real women whether in size, shape or detail. I created these figurative forms daily for almost eight months. It became a ritual, an act of constant creation. Each figure became reflective of what was occurring in my life at the time. Films I watched, books I read, images I viewed--whether in pop culture or art history--even my unconscious thoughts, appeared in the forms I amassed. I found myself creating personal icons and heroines. From the Elgin marbles, wedding dress shopping, feminist texts, The New York Times and popular fiction; these figures embodied various aspects of my life during the year. I strove to create a variety of female forms that reference history as well as today s modern women. To re-create the mysteriousness of the original Venus Figurines, I photographed my paper sculptures with a historical photographic process called wet plate collodion. This process was popular around the time the first Venus Figurine was discovered in I used two techniques to create The Venus Series. One technique involved coating a plate of black glass with photo sensitive emulsion and photographing the image while the plate was still wet to create a portrait. The other technique involved coating an aluminum plate with photo sensitive emulsion, laying the torso onto the still wet plate, then exposing both to light to create a photogram. Both techniques create a ghostly image, displaying traces of the figure as it emerges
12 3 from the plate. These portraits and photograms give the figures the luminosity, beauty and drama of the original Venus Figurines, while retaining their own distinctive characteristics. The installation of the images allows the viewer to experience the powerful mass of images, yet still focus on each figure s individuality. This is possible by white shelving that blends into the gallery walls and does not distract from the plates. This installation allows for the figures to seemingly float, transforming the gallery into a modern sacred space. This minimal installation brings the imagery into the present while the size of the images recalls traditional 19 th century portraiture as well as the original Venus Figurines. Through the processes, imagery and installation, I hope I am able to recreate the power and mystery of the original Venus figurines while reinterpreting them to reflect my own life. I created my interpretations for the modern viewer while still referencing the past; giving my Venus figures the qualities that make the original figurines so powerful.
13 4 ARTIST STATEMENT Venus Figurines is a term used for small carved female figures found in Europe and the Middle East from the Upper Paleolithic era. They began to be discovered in the late 19 th century and discoveries continue to this day. Little is known about these figurines and it is that lack of knowledge that adds to their mystery. There remains much speculation and theory: what do they mean, what do they represent? Their varied traits, sizes and locations have added to this mystery. These forms continue to intrigue and mystify contemporary viewers. They have inspired various artists, confounded archeologists and created contradictory theories among historians. Some feminists have embraced the Venuses, others have rejected them. Regardless of the varied responses, these figures capture our attention and imagination, as they have mine. The Venus Series is my attempt to re-create the power, mystery and primal beauty these forms have by creating my own figurines that reference autobiography, contemporary culture and history. These sculptures were made of high-shrinkage flax paper and were then photographed using a 19 th century photographic process called wet-plate collodion. This technique involves coating a non-porous surface with a photo sensitive emulsion and exposing it to light while the plate is still wet. This process allowed me to re-interpret yet still convey the luminosity, beauty and drama of the original Venus figurines.
14 Figure 1: Ambrotype #1 5
15 Figure 2: Ambrotype #2 6
16 Figure 3: Ambrotype #3 7
17 Figure 4: Ambrotype #4 8
18 Figure 5: Ambrotype #5 9
19 Figure 6: Ambrotype #6 10
20 Figure 7: Ambrotype #7 11
21 Figure 8: Ambrotype #8 12
22 Figure 9: Ambrotype #9 13
23 Figure 10: Ambrotype #10 14
24 Figure 11: Ambrotype #11 15
25 Figure 12: Ambrotype #12 16
26 Figure 13: Ambrotype #13 17
27 Figure 14: Ambrotype #14 18
28 Figure 15: Ambrotype #15 19
29 Figure 16: Ambrotype #16 20
30 Figure 17: Ambrotype #17 21
31 Figure 18: Ambrotype #18 22
32 Figure 19: Ambrotype #19 23
33 Figure 20: Alumitype #1 24
34 Figure 21: Alumitype #2 25
35 Figure 22: Alumitype #3 26
36 Figure 23: Alumitype #4 27
37 Figure 24: Alumitype #5 28
38 Figure 25: Alumitype #6 29
39 Figure 26: Alumitype #7 30
40 Figure 27: Alumitype #8 31
41 Figure 28: Alumitype #9 32
42 Figure 29: Alumitype #10 33
43 Figure 30: Alumitype #11 34
44 Figure 31: Alumitype #12 35
45 Figure 32: Alumitype #13 36
46 Figure 33: Alumitype #14 37
47 Figure 34: Alumitype #15 38
48 Figure 35: Alumitype #16 39
49 Figure 36: Alumitype #17 40
50 Figure 37: Alumitype #18 41
51 Figure 38: Alumitype #19 42
52 Figure 39: Alumitype #20 43
53 Figure 40: Alumitype #21 44
54 Figure 41: Alumitype #22 45
55 Figure 42: Alumitype #23 46
56 Figure 43: Alumitype #24 47
57 Figure 44: Alumitype #25 48
58 Figure 45: Alumitype #26 49
59 Figure 46: Alumitype #27 50
60 Figure 47: Installation #1 51
61 Figure 48: Installation #2 52
62 Figure 49: Installation #3 53
63 Figure 50: Installation #4 54
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