Anna platen. Anna Platten 2019-05-05

Anna platen Rating: 5,1/10 894 reviews

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anna platen

The top half of the painting shows a dress-maker's dummy winged with tulle and lace. The active presence the one who looks is male and its binary opposition, the passive recipient of the look, is female. We only sell anodized plates, so that you can get the best performance out of your plates! The view of the spectator coincides with that of the man - thus we are implicated in this voyeuristic activity. Anna Platten's art reproduces rather than resolves the problems of women and representation. Thus woman as both subject and object of the look is the theme of this exhibition.

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CannaPlates

anna platen

The tension between woman as object or subject of the gaze, as bearer or maker of meanings is clearly delineated. The exhibition is a survey of paintings and drawings selected from the artist's work over the past decade. The image of the artist is reflected in a mirror in two of the paintings and she is the subject of three other works. Come talk to us and see what all the buzz is about! In the paintings of the young woman in the white dress ballet, bridal or fairy the inclusion of mirrors and cameras serve to underline the importance of the gaze and of women's role as its recipient. She curves herself around the man's body and gazes not at the viewer, nor into a mirror but up at her man. However fetishism in this case doesn't allude to masculine castration fears but rather to a primary loss. The tools of her trade and her paint-smeared coat suggest a serious 'workman-like' approach, however the artist's timid look, the small amount of space she occupies in the picture, and the use of the table to bar the viewer's access to her, suggest that she is not fully confident in this role.

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Anna Platten

anna platen

I watch and I aid. The pleasure of looking in cinema, in art is based on voyeurism. Our customer service doesn't stop when you make your purchase, as a matter of fact, it is just getting started. A visual space is constructed for the viewer by the distance between the male who looks and the young girls who appear unaware of his presence. The problem of female spectatorship is of particular concern for women artists.

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Anna Platten

anna platen

Arrayed in satin and tulle or a sequined leotard she is accompanied by props such as a mirror, hoop or toy models. CannaPlates aftercare is truly unmatched in the rosin plate business. Thus the stage is set for the performance of femininity - as spectacle, as display. This fabrication of femininity and fantasy, hovers over the artist like an angel of death or desire. .

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Anna Platten

anna platen

She is already free of her childish past and the present seems but a time of transition, it contains no valid aims only occupations. We will never charge for labour! I am present to the film in two inseparable ways, witness and helper. This work could almost be a parody of chocolate box romance with its dishevelled satin sheets and the flower-strewn body of the heroine clad in a filmy shift. Based on chronological order, they demonstrate Platten's increasing skill, confidence and ability. Coward, 'Female Desire' Granada, 1984. There is a fetishistic excessiveness about this work with its baroque folds, its abundant flowers and its surface gloss. A theatrical connection is further enhanced by the limited depth of the picture plane, the suggestion of a backdrop and heavy velvet curtains which frame the scene.

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Self, Image and the Gaze: Anna Platten

anna platen

Perhaps the need to conform to a traditional realism focusing on the body indicates a desire to seek an 'authentic' self. While her works do raise, for the viewer, interesting questions about gendered spectator positions and perhaps even the pleasure of surfaces as a female desire. Her youth is consumed in waiting more or less disguised. CannaPlates will change the way you look at solventless extracts. Gazing into a mirror can also signify narcissism or the mirror phase, a period of transition from infant dependency to a speaking subject.

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Self, Image and the Gaze: Anna Platten

anna platen

If you are looking for a simple and cost effective tool to rosin press with, that is made in Canada for Canadians, then CannaPlates is that tool. The spectator's reading of the work may not coincide with the artist's intent, but this in no way invalidates it. In watching the film I help it to be born, to live, since it is in me that it will live, and it was made for that; to be seen; that is, to come into existence when it is seen. The introduction to this narrative, and to the gaze as an organizing element is the painting 'Man Watching Girls Playing Cards'. In the paintings 'Girls with Hoop and Ladder' and 'Girls in Sequins on Box' the young models rehearse their femininity, returning the gaze of the spectator and thus confirming his right to look.

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Anna Platen

anna platen

A parallel for this can be found in the popularity of woman-centred novels which merge the quest for identity with sexuality. You want a tool that will give you those same consistent results time after time and day after day without fail. We help you with everything from shop press selection, to your very 1st rosin press and everything else in between! This then raises the question as to whether femininity is perceived as a given or a construct and to whom the work is addressed. My aim in this review is not to critically assess the work in terms of its technical achievements or aesthetic qualities - in fact not to critique it at all - but rather to provide a reading of the work generated by its narrative and symbolic elements. Fetishism evokes both pleasure and anxiety and trouble in paradise is indicated by the man's glance of hostility, suspicion? Pollock, 'Vision and Difference', Routledge '88. . .

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