Shipping from: New York, NY
Published by Peradam 2018
8.8 x 9 inches
152 pages
74 color images
Hardcover, clothbound, linen with debossed leafed image
ISBN: 978-1-7320534-8-9
Edition of 350
8.8 x 9 inches
152 pages
74 color images
Hardcover, clothbound, linen with debossed leafed image
ISBN: 978-1-7320534-8-9
Edition of 350
To Denude is to strip (something) of its covering, possessions, or assets; to make bare.
The origins of the word Odalisque are oda (chamber) and lik (function). Chamber-function.
Each drawing in Denude is an altered reproduction of Reclining Nudes and Odalisques throughout Western art history. They have been “reduced” by the artist to its ubiquitous form: the horizontal curvaceous usually white female torso. This process is an uncomfortable imitation of the violence of the original painter’s perspective and cultural context; a woman as a sexual object and tool for male pleasure, as well as the more recent violent perversion of Modernism in its incessant amputation of the female form. This work is not meant to perpetrate violence, but highlight it past and present.
In Denude, Jaeger has assembled the drawings into a flip book of a twisting figure, flattening any spatial or temporal context. The drawings are aligned by the belly button to the same spot on each page, with the same radius to the nipples and the crotch. This edition is hardcover clothbound, and organized double-sided so that if all the pages were transparent, the torsos would superimpose to make one form.
The origins of the word Odalisque are oda (chamber) and lik (function). Chamber-function.
Each drawing in Denude is an altered reproduction of Reclining Nudes and Odalisques throughout Western art history. They have been “reduced” by the artist to its ubiquitous form: the horizontal curvaceous usually white female torso. This process is an uncomfortable imitation of the violence of the original painter’s perspective and cultural context; a woman as a sexual object and tool for male pleasure, as well as the more recent violent perversion of Modernism in its incessant amputation of the female form. This work is not meant to perpetrate violence, but highlight it past and present.
In Denude, Jaeger has assembled the drawings into a flip book of a twisting figure, flattening any spatial or temporal context. The drawings are aligned by the belly button to the same spot on each page, with the same radius to the nipples and the crotch. This edition is hardcover clothbound, and organized double-sided so that if all the pages were transparent, the torsos would superimpose to make one form.
