Tracey Rose, ‘MAQEII’, Photography, Lambda photograph, Strauss & Co
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Tracey Rose

MAQEII

Lambda photograph
46 7/10 × 46 7/10 in
118.5 × 118.5 cm
Edition of 6
.
Bidding closed
SC
Strauss & Co

image size: 118.5 x 118.5 cm

Tracy Rose’s video work Ciao Bella (2001), created for the 49th …

Medium
Signature
Inscribed with the artist's name, title, date, medium, dimensions and 'edition of 6' on a Goodman Gallery label adhered to the reverse
Tracey Rose
South African, b. 1974
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With a practice that centers on performance but includes photography, video, and installation, Tracey Rose explores cultural stereotypes imposed on Africans, women, and African women. Rose’s body is usually at the center of her art, which often recalls the work of Cindy Sherman in format and content. Ciao Bella (2001), the piece with which she represented South Africa at the 2001 Venice Biennale, combines photographs of Rose disguised as various feminine archetypes (including Lolita and a nun) with a video of similarly feminine characters (including a mermaid and Marie Antoinette) playing out an absurd, chaotic narrative. Other works make biting statements about sexuality and femininity—for the 1998 work Ongetiteld (Untitled), she shaved her entire body and recorded the act using surveillance cameras.

Tracey Rose, ‘MAQEII’, Photography, Lambda photograph, Strauss & Co
Save
Save
View
View in room
Share
Share
SC
Strauss & Co

image size: 118.5 x 118.5 cm

Tracy Rose’s video work Ciao Bella (2001), created for the 49th Venice Biennale, reimagines the Last Supper with the 13 original roles cast as female – all portrayed by Rose herself. Along with the work, she created photographic portraits of these 13 characters that ‘serve to introduce …

Medium
Signature
Inscribed with the artist's name, title, date, medium, dimensions and 'edition of 6' on a Goodman Gallery label adhered to the reverse
Tracey Rose
South African, b. 1974
Follow

With a practice that centers on performance but includes photography, video, and installation, Tracey Rose explores cultural stereotypes imposed on Africans, women, and African women. Rose’s body is usually at the center of her art, which often recalls the work of Cindy Sherman in format and content. Ciao Bella (2001), the piece with which she represented South Africa at the 2001 Venice Biennale, combines photographs of Rose disguised as various feminine archetypes (including Lolita and a nun) with a video of similarly feminine characters (including a mermaid and Marie Antoinette) playing out an absurd, chaotic narrative. Other works make biting statements about sexuality and femininity—for the 1998 work Ongetiteld (Untitled), she shaved her entire body and recorded the act using surveillance cameras.

Tracey Rose

MAQEII

Lambda photograph
46 7/10 × 46 7/10 in
118.5 × 118.5 cm
Edition of 6
.
Bidding closed
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