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other past exhibitions › All's Fair in Art & War › Lauren Argo: Life as Art › Mikhail Baryshnikov: Dominican Moves › Blue Apple Players: Tableau Vivant › Dan Dutton: Ballads of the Barefoot Mind › El Día de los Muertos (2009) › Dia de los Muertos: Day of the Dead (2008) › Finding Family › Marvin Francis: Prison's Paper Trail › Anthony Goicolea: Ramp › Ross Gordon: Ceremony Series › Ilse Haider: Selected Works 1997-2002 › Photo/Synthesis: James Baker Hall › Hybridity › Nineveh: Ezra Kellerman › Sleepers: Abbas Kiarostami › Paris Kyne: The Colour of Racing › Looking Now › Constant World: Jennifer & Kevin McCoy › Past Highlights › Quesenberry: Here Now, There Then › The Photographs of Dominic Rouse › Everybody Always Thinks They Are Right › Marc Swanson: Beginning to See the Light › Tangled Up In You › Josephine Taylor › Through the Rabbit Hole › UK College of Design: Revitalize Shippingport › John Waters: Unwatchable Series › Mickie Winters: Learning to Bend

Ilse Haider: Selected Works 1997—2002

March 13 — June 2007
gallery 4 street level

Ilse Haider studied with Arnulf Rainer in Vienna and then in London with Eduardo Paolozzi; a convergence of influences in her work which, while detectable, has been refined into interesting new forms. Born in Salzburg in 1965 she has continuously worked with photography in combination with sculptural forms, at first with ceramic and wood over-printed with photographs, and then with wicker and Q-Tips acting as the ground for the image. Her recent works divert somewhat from this principle, based upon but not actually being photographs.

In Male Nude (Mannlicher Akt)  Haider places a photographic image under a sheet of glass, the artist maps the form of the figure with silicon gel onto the glass surface. She then inserts small plastic stamen into the gel in such a way that they follow the pattern of shadow in the photographic image. These stamens, which are normally used for plastic flowers, are embedded in the silicon and the tail.  Resembling hair, the stamens protrude above the surface of the silicon. After the whole figure has been treated in this manner the completed work is peeled away from the glass and is hung directly on the wall.

Drawing upon the clichéd traditions of nude photography, many of Haider’s recent images are appropriated from magazines, which were produced in the sixties. Similar to her larger self-portrait, Haider takes the tradition of the nude – so long dominated by men depicting women – and reverses the role of the artist and model.

Exhibited Works

• Out of the series “Etudes academiques”, 1997. Phototransfer on Q-tips in Plexibox.
• Male Nude (Mannlicher Akt), 1999. Silicon, plastic stamen, colored paper. Partial loan from the Speed Art Museum, Louisville, KY.
• after Singry, 1999. Silverprint-emulsion on wood.
• After Velasquez, 1999. Silverprint-emulsion on wood.
• The Consoling Camera, 2002. Artist self portrait with four male nudes. Black and white photograph.

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