Alexis Hunter

The Marxist Wife (still does the housewife), 1978109.5 x 36cmPrice on Request

Details

Material

20 laser copies on archival paper, 4 framed panels

Description

Human-crafted. AI-refined.

The artwork features a series of framed images depicting hands interacting with a piece of fabric, accompanied by the text "Man, Think" repeated throughout. The visual elements consist of high-contrast black and white brushstrokes creating a gritty, abstract backdrop, while the hands and fabric provide a sense of materiality and tactility. The subject matter explores the relationship between the human body and the act of thinking, inviting the viewer to consider the physical and conceptual aspects of contemplation. The artistic style combines photographic realism with expressive, gestural mark-making, creating a thought-provoking work that interrogates the nature of human cognition and self-awareness. ...

Similar Artworks

Rirkrit TiravanijaMake a monkey out of clay, 2011Price on Request

Ellen Pau 鮑譪倫Drained Ⅱ, 1989Price on Request

Rirkrit Tiravanijauntitled 2020 (black flag no. 3, new york times, march 8/26 2018), 2020Price on Request

Ellen Pau 鮑譪倫The Great Movement: Red Stock 大運動之紅籌, 1997Price on Request

Kiki SmithSpiral Nebula (Large), 201785000 USD

Penny SlingerThrough the Glass, 1970Price on Request

Kembra PfahlerFear of a Karen Black Planet, 199415000 USD

Teresa MargollesTrocheras con pretal, 2019Price on Request

Huda LutfiUntitled (Healing Devices), 20194400 EUR

Sarah LucasMON PIED (roof series), 1995Price on Request

SturtevantFinal Articulation of Origins, 199950000 EUR

Artist

Alexis Hunter

1948 , New Zealand

Alexis Hunter used photography as a means of weaponizing feminist theory, critiquing and subverting the objectification of the female body and radically reappropriating it as a site for political activism. Hunter often depicted male bodies in the same manner as sexist depictions of women in advertising and media in the 1970s, and pioneered a technique of photographic sequential narrative, using photographs and text to make radical, provocative storyboards. Through gender roleplay and the use of fetishised objects as props, Hunter disrupted normative, entrenched dynamics of power and challenged the exploitation of gender stereotypes aimed at generating profit, a symptom of consumer capitalism. As well as displaying a legacy of radical feminism and its evolutions, viewing Hunter’s work today shows the artist’s anger, bravery and innovation in the face of a misogynistic society. ...