Composição II | Até à pintura Contemporânea 1 | 2016-05-25

M. Botelho, 2016-05-25

“A partir de hoje a pintura morreu”. Paul Delarroche, c. 1839 (?)

Louis Daguerre, Daguerre Atelier, 1837, Daguerreotype

Paul Delaroche, The Execution of Lady Jane Grey, 1833

Alexander Rodchenko, Cor pura vermelha, cor pura azul, cor pura amarela, 1921

“Levei a pintura até ao seu fim lógico e expus três quadros: um vermelho, um azul e um amarelo, e fi-lo com uma constatação: tudo chegou ao fim”. Rodchenko

Ad Reinhardt, Abstract Painting, Black, 1954, oil on canvas, 198 x 198 cm

 “…a pure, abstract, non-objective, timeless, spaceless, changeless, relationless, disinterested painting…” Ad Reinhardt, “The Black-Square Paintings”, 1963.

“The last painting anyone can make”. Ad Reinhardt,1966

“[a pintura] tornou-se numa antiguidade”. Robert Morris, “Notes on Sculpture 1-3”, 1967

“No que respeita à arte, as pinturas de Van Gogh não valem mais do que a sua paleta. Ambos são artigos de colecionador”. Joseph Kosuth, “Art after Philosophy”, 1969

“No final dos anos 60 a cena artística sofreu uma grande politização. A pintura era tabu porque não tinha “relevância” social e era, por isso, uma coisa burguesa”. Gerhard Richter

Obras de : John Currin, Francis Alys, Peter Halley, Peter Doig, David Reed, Michel Majerus, Pia Fries, Beatriz Milhazes, Eberhard Havekost, Johannes Kahrs, Ângela de la Cruz, Glenn Brown, Toma Abts, Sigmar Polke, Muntean & Rosenblum, Laura Owens

Como chegámos aqui?

Década de 1960 – Fragmentação da Vanguarda artística
Pop, minimalismo, arte conceptual, etc.
Diversidade de mediums (Post-Medium)

c. 1970–2015 – O tempo explode em todas as direções
Ausência de movimentos estanques (?)
Simultaneidade / cruzamento de correntes e mediums diversificados
Fim do monocentrismo – arte num mundo globalizado
Hibridismo …

Modernism (Clement Greenberg + Michael Fried)
Postmodernism (Craig Owens + Hal Foster + etc.)
Altermodern (Nicolas Bourriaud) - alterglobalisation / archipelago / nomadism …

Pós-modernismo (?)… conservador (?) | Julian Schnabel, Helmut Middendorf, David Salle…

Pós-modernismo (?)… crítico (?) | Sherrie Levine, Alan McCollum, Barbara Kruger…

(?) In art, postmodernism was specifically a reaction against modernism. Some outstanding characteristics of postmodernism are that it collapses the distinction between high culture and mass or popular culture; that it tends to get rid of the boundary between art and everyday life; and that it refuses to recognise the authority of any single style or definition of what art should be. Resultantly, postmodern art is characterised by the self-conscious use of earlier styles and conventions, and a mixing of different artistic styles and media. Postmodernism may be said to begin with pop art and to embrace much of what followed including conceptual art, neo-expressionism, feminist art…  http://www.tate.org.uk/learn/online-resources/glossary/p/postmodernism  

What is contemporary art? First, and most obviously: why is this question not asked? That is to say, why do we simply leave it to hover in the shadow of attempts at critical summation in the grand tradition of twentieth-century artistic movements? The contemporary delineates its border invisibly: no one is proud to be “contemporary”, and no one is ashamed. Indeed, the question of where artistic movements have gone seems embedded in this question, if only because “the contemporary” has become a single hegemonic “-ism” that absorbs all proposals for others. When there are no longer any artistic movements, it seems that we are all working under the auspices of this singular –ism that is deliberately (and literally) not one at all… A.A.V.V. (Eds. : Aranda, Julieta; Wood, Brian Kuan; Vidokle, Anton) – What is Contemporary Art. Berlin; New York: Sternberg Press, 2010, p. 6.

Linhas de continuidade?

1 – Monochrome (?)

Alexander Rodchenko, Cor pura vermelha, cor pura azul, cor pura amarela, 1921

Robert  Rauschenberg, White Painting - three panel, 1951, óleo sobre tela, total  182,7 x 274,3 cm

“I always thought of the white paintings as being not passive, but very… well, hyper sensitive, so that one could look at them and almost see how many people were in the room by the shadows cast, or what time of day it was.” Robert Rauschenberg

In the summer of 1951 at Black Mountain College, Rauschenberg began a series of entirely white paintings. […] Only a few months prior, Cage was introduced to Rauschenberg at Betty Parsons Gallery in New York, initiating a period of close exchange that lasted throughout both artists’ lives. Upon witnessing the development of the White Paintings, Cage was taken aback by the younger artist’s bold abandonment of figuration. He recognized that the White Paintings were not, in fact, devoid of form, but rather served, in his words, as “mirrors of the air” and “airports for the lights, shadows, and particles.” As early as February 1948, Cage introduced the theoretical foundations for 4′33″—to “compose a piece of uninterrupted silence”—during a lecture at Vassar College. However, he claimed that it was not until seeing Rauschenberg’s White Paintings that he had the courage to explore silence within his own work. http://www.moma.org/explore/inside_out/2014/01/03/composing-silence-john-cage-and-black-mountain-college-3

Yves Klein, IKB 3, 1960
[Klein] began making monochromes in 1947, considering them to be a way of rejecting the idea of representation in painting and therefore of attaining creative freedom.  […] The letters IKB stand for International Klein Blue, a distinctive ultramarine which Klein registered as a trademark colour in 1957. He considered that this colour had a quality close to pure space and he associated it with immaterial values beyond what can be seen or touched. http://www.tate.org.uk/art/artworks/klein-ikb-79-t01513/text-summary 

Brice Marden, Blunder, 1969, oil and beeswax on canvas, 183 x 183 cm

Brice Marden, The Seasons, 1974 – 1975

“I want my paintings to be: abstract, direct, urban, basic, modest, pure, simple, silent, honest, absolute”. Alan Charlton
Alan Charlton paints monochrome grey paintings – which he has been doing since the early 1970s. Far from being monotone and unexciting Charlton’s works concentrate on physicality, uniformity and method and they evoke a profound sense of the painting as a spatial entity. […] Immaculate surfaces are interrupted by form and rhythm is generated by broken repetition. http://www.annelyjudafineart.co.uk/artists/alan-charlton

Allan McCollum, Surrogate Paintings, 1978-80, acrylic and enamel on wood and museum board

Pinturas ou objetos? Original ou cópia? Simulacro?

“Before I ever actually made any Surrogate Paintings, I was always seeing them on television, on the walls behind the actors. But they were only fleeting images, like accidents of light, or mirages. What I was recognizing, I guess, was an image which was only just potentially developing inside my head. So when I ultimately began to physically create these objects, to cast them in actual plaster, and to produce them by the hundreds, it was always very mysterious to me which image I might honestly point to within this chain of representations as the original ‘surrogate’”. Allan McCollum http://allanmccollum.net/allanmcnyc/vanabbe/essink.html 

2 – The whole idea

Ad Reinhardt, Abstract Painting, Black, 1954, óleo sobre tela, 198 x 198 cm

At first glance, Abstract Painting may appear to be a monochromatic black canvas, but a careful look reveals that this painting is a three-by-three grid with squares in varying shades of black. […] To create the work, Reinhardt mixed black oil paint with small amounts of red, green, or blue […]. Reinhardt explained that he hoped to achieve “a pure, abstract, non-objective, timeless, spaceless, changeless, relationless, disinterested painting—an object that is self-conscious (no unconsciousness), ideal, transcendent, aware of no thing but art.” […] Reinhardt would prove to be a great influence on the Minimalism of younger artists, including Donald Judd and Frank Stella. http://www.moma.org/learn/moma_learning/ad-reinhardt-abstract-painting-1963

Frank Stella, Tomlinson Court Park, 1959, 2ª versão

Frank Stella, Marquis de Portago, 2ª versão, 1960
“I had to do something about relational painting, i.e., the balancing of the various parts of the painting with and against each other. The obvious answer was symmetry – make it the same all over […] It’s nonrelational. […] you can see the whole idea without any confusion. What you see is what you see…” Frank Stella, 1960, 1966

Agnes Martin, Untitled 8, 1989, acrylic and graphite on canvas
Grids – “Surfacing in pre-War cubist painting and subsequently becoming ever more stringent and manifest, the grid announces, among other things, modern art's will to silence, its hostility to literature, to narrative, to discourse. As such, the grid has done its job with striking efficiency. The barrier it has lowered between the arts of vision and those of language has been almost totally successful in walling the visual arts into a realm of exclusive visuality and defending them against the intrusion of speech”. Rosalind Krauss (The Originality of the Avant-garde…)

3 – I Will Not Make Any More Boring Art

John Baldessari, Composing on a Canvas, 1966-68, acrylic on canvas, 289,6 x 243,8 cm

John Baldessari, A Painting by George Walker, 1969, oil or acrylic on canvas, 155x119,4 cm

John Baldessari, I Will Not Make Any More Boring Art, 1971, litografia

John Baldessari, I Will Not Make Any More Boring Art, (1971), Le Case d'Arte, Milano 2011

“As there wasn’t enough money for me to travel to Nova Scotia [for the exhibition], I proposed that the students voluntarily write ‘I Will Not Make Any More Boring Art’ on the walls of the gallery, like punishment. To my surprise they covered the walls.” John Baldessari https://www.moma.org/learn/moma_learning/john-baldessari-i-will-not-make-any-more-boring-art-1971

4 – Extricating painting from its traditional confinement to a framed canvas

Daniel Buren, Recordação fotográfica; 50 trabalhos à volta de Nova Iorque, 1970
Pintura? Escultura? Arquitetura? | Fotografia  enquanto registo documental de uma instalação efémera… | Negação (ou afirmação?) do autor
Buren: “a career devoted to extricating painting from its traditional confinement to a framed canvas”. http://www.parkettart.com/downloadable/download/sample/sample_id/164 

Peinture-Sculpture (Painting-Sculpture) [1971] focused on the Guggenheim’s Frank Lloyd Wright architecture and the building’s orientation around an open spiral ramp. […] Daniel Buren’s proposal involved hanging a 66 x 32 ft. canvas banner with his signature vertical stripes in alternating white and blue. The work would bisect the rotunda from top to bottom. As the viewers traversed the circular ramps, at times they would see a flat expanse of canvas, similar to a large painting. But as they continued around, the banner could also be experienced as a sculptural object. The project was indeed in situ; it specifically addressed the museum’s imposing architecture and transformed the way it functioned. Buren’s work engendered criticism from several other artists in the exhibition. Before the official opening, it was removed. http://www.guggenheim.org/new-york/education/school-educator-programs/teacher-resources/arts-curriculum-online?view=item&catid=721&id=38

Daniel Buren, Plan contre-plan (2), 1982, Haus Esters Museum, Krefeld
PLAN CONTRE-PLAN, shown at the Haus Esters Museum in Krefeld, 1982, was part of a joint exhibition with Michael Asher (whose work was on view in the adjoining Haus Lange Museum). PLAN CONTRE-PLAN—which was based on the floor plan from Haus Lange where Asher’s work was on view—reproduced this house’s mural partitions in full scale in white- and red-striped material. By superimposing the walls of one of the two early, neighbouring houses of Mies van der Rohe on the other, Buren staged a visible interaction between the layouts of closely related houses. At the same time he juxtaposed “real” walls with walls fabricated from vertically-striped material. The white - and red striped walls of canvas determined by Haus Lange’s layout overlapped with and projected beyond House Esters’ walls to form walled partitions on its exterior. http://www.parkettart.com/downloadable/download/sample/sample_id/164 

5 – Spatial Concept

Lucio Fontana, Concetto Spaziale - Attese, 1965

Lucio Fontana, Spatial Concept - The End of God, 1963
Fontana first began puncturing the surface of paper or canvas in the late 1940s, blurring the distinction between two and three dimensionality. Recognising the importance of this innovation, he continued, through the 1950s and 1960s, to seek different ways of developing the hole as his signature gesture. […] Many of Fontana's marks - slashes, gouges, puncturings - evoke pain, and in particular suggest wounds to the skin. http://www.tate.org.uk/art/artworks/fontana-spatial-concept-waiting-t00694/text-summary

Mira  Schendel, Perfurados, anos de 1970

Angela de la Cruz, Pronto a Vestir (Vermelho), 1999, óleo sobre tela, madeira, 80 x 55 x 60 cm

Angela de la Cruz, Desordem I, 2003, acrílico e óleo sobre tela, etc, 204 x 267 x 27,5 cm

6 – Materialidade

Rauschenberg, Untitled, c. 1951, glossy black painting, oil and paper on canvas, 182 x 134 cm

Robert Ryman, Untitled, 1960, oil on linen, 149 x 149 cm

Robert Ryman, untitled, 1973, enamel on copper

“Ryman reduced his painting to the strict minimum: the square format and the colour white. He permutated and varied these constants by manipulating scale and texture. Small and large formats were arranged on the same wall and all sorts of media were applied to a variety of supports so that the results were always different. […] Close to Minimal art, Ryman’s work may be distinguished from it by the importance he gave to the painted surface and to the painter’s touch, using these as essential elements in his highly refined examination of the optical and material properties of the painting discipline”. Alfred Pacquement http://www.moma.org/collection/artist.php?artist_id=5098

Roxy Paine, Paint-Dipper (installation view, James Cohan Gallery, Shanghai, 2010)

Hugo Canoilas, Project Room 2005, instalação no Centro Cultural de Belém, 2004

Zebedee Jones
Each painting describes only its material existence – paint and surface. Yet, the palimpsest-like layers of paint and resultant built-up density give a sense of time - the timeliness of the process of painting. In this way his work can be placed within a traditional of Minimalist painting but also of process art, particularly as paintings which contain evidence of their own construction. http://www.artrabbit.com/all/events/event/29032/zebedee_jones_recent_paintings

Obra de João Jacinto

Pia Fries

Frank Auerbach, Head of E. O. W. I., 1960

Leon Kossoff, Leon Kossoff, 1981 (National Portrait Gallery 5772)

7 – Pintura abstrata

Mondrian, Composition with Red, Blue, and Yellow, 1930, óleo sobre tela, 60 x 60 cm
Peter Halley, Asinchronous Terminal, 1989, Day-glo acrylic, acrylic, and Roll-a-Tex on canvas, 240 x 190 cm

Sarah Morris, Federal Reserve (Capital), 2001, gloss household paint on canvas, 214 x 214 cm

Sarah Morris, Rio (With Palms) (Las Vegas), 2000, esmalte brilhante sobre tela

Barnett Newman, Quem te Medo do Vermelho, Azul e Amarelo, 1966
Philip Taaffe, We are Not Afraid, 1985, linoprint, collage and acrylic on canvas, 120 x 102 inches

(Op Art) – Bridget Riley, Current, 1964, synthetic polimer paint on board, 135 x 150 cm
Philip Taaffe, Adam & Eve, colagem em linóleo-gravura e acrílico sobre papel, 2 elementos

Bridget Riley, Après Midi, 1981

Ian Davenport, Poured Lines: Light Violet, Green, Blue, Red, Violet, 1995, household oil on canvas, 231,4 x 213,4 cm

Estúdio de Ian Davenport

Ian Davenport, Poured Painting; Light Blue, Dark Blue, Light Blue, 1999, household paint on aluminium, 290 x 200 cm (vista da obra no estúdio do artista)

Rothko, Sem título , 1968, acrílico sobre papel, 173 x 123,5 cm

Sean Scully, Wall of Light Horizon, 2005, oil on linen, 244 x 366 cm

Sean Scully, Paul, 1984

Günther Förg, Ohne Titel, 1987, acrylic on lead on wood, 120 x 90,5 x 4 cm

Stuart Davis, Egg Beater No. 1, 1927, óleo sobre tela, 74 x 91,4 cm
Tomma Abts, Tiard, 2000, oil and acrylic on canvas, 48 x 38 cm

Tomma Abts, Epko, 2001, oil and acrylic on canvas, 48 x 38 cm

Tomma Abts, Tebbe, 2001, acrylic and oil on canvas

Tomma Abts stands in front of her artwork at the Tate Britain

Kees Goudzwaard, Brief Note, 2006, oil on canvas, 80 x 60 cm

Kees Goudzwaard, Collected, oil on canvas, 125x250cm

Obras de: Kandinsky, Pollock, Hans Hofmann

Fiona Rae, Untitled (purple and Brown), 1991, oil and charcoal on canvas, 198 x 213,5 cm

Pia Fries, Musselin 4,  2005, Oil and silkscreen on wood, 77 x 105 cm

Mary Heilmann, Bush of Ghosts, 1980

Mary Heilmann, installation with chair, from her show at the New Museum in 2008.

Mary Heilmann, born in 1940, spent her childhood years in Southern California amidst beach and surf culture. […]  She joins shaped canvases and designs installations that include hand-made, movable chairs. She works like a conceptual artist, executing ideas in series and repetition, based on sustained meditation. The result is a freshness and instinctual quality, in opposition to the laborious existentialism of formalist abstraction.  […] Heilmann’s inspiration is popular culture […] Her work — straddling this unique space between Pop, Minimalism, abstraction and craft — has been extremely influential to succeeding generations of artists. http://hyperallergic.com/63358/wild-punk-and-slightly-off-kilter-an-interview-with-mary-heilmann/

David Reed, #236 (Jerome’s Dream), 1986

Beginning with his earliest work, David Reed has challenged Modernist ideals and sought out new directions in abstract painting. Reed’s gestural mark-making refers to painting movements as varied as Mannerist and Baroque painting, Abstract Expressionism, and Postminimalism. http://momaps1.org/exhibitions/view/237 

8 – Pintura abstrata, ainda?

David Reed, #358, 1996

Beginning with his earliest work, David Reed has challenged Modernist ideals and sought out new directions in abstract painting. Reed’s gestural mark-making refers to painting movements as varied as Mannerist and Baroque painting, Abstract Expressionism, and Postminimalism. http://momaps1.org/exhibitions/view/237 

Video? Projecto conceptual?  Pintura?

David Reed, Las Vegas Piece, 1996, 2 videos, ensemble featuring #358

David Reed, Judy’s Bedroom, 1992

Reed’s recent multi-media works, Judy’s Bedroom (1992) and Scottie’s Bedroom (1994), combine his interests in photography and film with his painting, using Alfred Hitchcock’s 1958 film Vertigo as a vehicle. Deciding to become a “bedroom painter,” Reed inserts his own paintings, through video and set recreations, into the charged environments of Hitchcock’s rooms, raising questions of originality, representation, reality, and the seductive power of color and form. http://momaps1.org/exhibitions/view/237  

David Reed, Scootie's Bedroom, 1994

9 – Da fotografia à pintura

Charles Sheeler, Rolling Power, 1939, oil on canvas
Sheeler began using his own photographs as sources for paintings. The sharpness and clarity of his vision associated him with the group of artists working in a style termed Precisionist. In 1939–40, he traveled across the country on assignment for Fortune magazine, photographing locations for a series of paintings on the theme of "Power." The six finished paintings depicted icons of American industry such as airplanes, locomotives, power plants, and dams. http://www.metmuseum.org/toah/hd/shee/hd_shee.htm

Ralph Goings, Airstream, 1970
Hyper-realism (also called super-realism; in painting is synonymous with photorealism)
By the end of the 1960s, a number of young artists working in the United States had begun making large-scale realist paintings directly from photographs. With often meticulous detail, they portrayed the objects, places, and people that defined urban and suburban everyday life in America. In contrast to the Pop artists, they did not present their ubiquitous, often mundane, subject matter in a glamorized or ironic manner. They sought instead to achieve a great degree of objectivity and precision in the execution of their work in an effort to stay more or less faithful to the mechanically generated images that served as their source material. (Text from the Deutsche Guggenheim website)

Robert Bechtle, Cruzamento em Oakland, óleo s tela, 101,6 x 147,3 cm
Robert Bechtle, Foster's Freeze, Escalon, 1975

Richard Estes, Telephone Booths, 1967

Chuck Close, Leslie, 1973, watercolour on paper, 184 x 144 cm

Chuck Close, Phil (Philip Glass), 1969, acrylic and graphite pencil on canvas, 275 × 213,4 cm

Gerhard Richter, Tote (Morta), 1988, óleo sobre tela, 62 x 67 cm

10 – Colagem / Descolagem /…

Hanna Hoch, Cut with the Kitchen Knife Through the First Epoch of the Weimar Beer-Belly Culture, Germany, 1919, collage, 114 x 90 cm

Mimmo Rotella (descolagem)

Robert Rauschenberg, Canyon, 1959, óleo tecido, águia embalsamada, etc., 208 x 179 x 61 cm

Robert Rauschenberg, Monogram, 1955-59, papel, pneu, cabra, etc., 106,7 x 160,7 x 163,8 cm

Rauschenberg, Retroactive I, 1964, óleo e serigrafia, 213 x 152 cm

James Rosenquist, F 111, 1964-65, oil on canvas with aluminium, total 3 x 26 m
Rosenquist began the painting F-111 in 1964, in the middle of the Vietnam War. He positioned his main subject, the F-111 military plane, which was in development at the time, flying through fragmented images of consumer products and references to war. Through its expansive network of colliding visual motifs, F-111 addresses the connections between the Vietnam War, income taxes, consumerism, and advertising. http://www.moma.org/explore/f111

David Salle, Colony, 1986, acrílico e óleo sobra tela, 239 x 345 cm

Jeff Koons, Stream, 2001, oil on canvas, 274 x 213 cm

Manuel Ocampo, A Moral Exorcism Meaningless Outside a Ritualistic Sense of Artistic Heroism, 2000, acrylic on canvas, 213 x 167 cm

Manuel Ocampo, Ubermensh, 1992, oil on linen, 183 x 152 cm

11 – Outras imagens e apropriações

Stuart Davis, Odol, 1924, óleo s tela, 61 x 45,5 cm
Warhol, Close Cover Before Striking (Pepsi Cola), 1962, 183 x 137 cm

Jasper Johns, Flag, 1954-55, óleo sobre tecido montado sobre aglomerado de madeira, aprox. 100 x 150 cm

Warhol, Marilyn Monroe, 1967

Roy Lichtenstein, White Brushstroke I, 1965, oil and magna on canvas, 122 x 142 cm

Roy Lichtenstein, Whaam!, 1963, acrylic and oil on canvas, 172,7 x 406,4 cm
Throughout the 1960s, Lichtenstein frequently drew on commercial art sources such as comic images or advertisements, attracted by the way highly emotional subject matter could be depicted using detached techniques. Transferring this to a painting context, Lichtenstein could present powerfully charged scenes in an impersonal manner, leaving the viewer to decipher meanings for themselves. http://www.tate.org.uk/art/artworks/lichtenstein-whaam-t00897

Elaine Sturtevant, Lichtenstein, Frighten Girl, 1966.
Estimate $600,000 – $800,000, Price Realized: $3,413,000. (Courtesy Christie’s)

Mike Bidlo, Not Picasso (Three Women at a Spring, 1921), 1987, oil on canvas, 203 x 174 cm
Mike Bidlo, Not Picasso (Large Nude on a aChair), 1929), 1987, oil on canvas, 195 x 129 cm

Gary Hume, Man, Woman, Jealousy and Passion, 1993, gloss paint, pencil, cardboard on panel, 201 x 133 cm

“Gary Hume mostly traces his images from photographs onto a sheet of plastic or acetate, lays the translucent sheet on the underlit bed of an epidiascope and projects the tracing onto the surface of the painting's aluminium support. He then retraces the projected line-drawing. The addition of colour is equally automatic, a matter of filling-in. His images are purged of inessentials. Until around 1997 his paintings were almost entirely constructed from flat planes and shapes. The underdrawing functioned as a contour for the mapping of these edges and planes […]. The paint itself has the same plain, declarative feel, doesn't hold brush-strokes, and dries smooth and glossy. It has a brittle, shimmering glamour”. Adrian Searle http://whitecube.com/artists/gary_hume/text/gary_hume_behind_the_face_of_the_door/  

Gary Hume, Four Doors l, 1989-90, oil on canvas (four panels), 239 x 594 cm, installation view

Hume’s seemingly abstract compositions, rendered in high-gloss, commercial house paint, were inspired by the institutional, swing doors of St. Bartholomew’s hospital in London’s East End.

Rosemarie Trockel , Untitled, 1985-88, knitted wool, in two parts, 200 x 320 cm

A minimal composition of seemingly endless repetition, Untitled exemplifies Trockel’s trademark build-up of motifs as well as her project of symbolically de-contextualizing universally recognized logos.  A symbol printed on products as an assurance of the pure quality of the material, the Woolmark logo, is contrasted by the prominent image of the Playboy bunny. Underlining the materiality of the present work, the Woolmark here alludes to the mundane image of female domesticity, whilst the Playboy bunny, an emblem of the salacious pulp aesthetic of the iconic magazine, characterizes the sexualized female stereotype and the objectification of women. http://www.sothebys.com/en/auctions/ecatalogue/2014/contemporary-art-evening-sale-n09141/lot.4.html

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