ARTIST MONOGRAPHS

PUBLISHER
Hatje Cantz

BOOK FORMAT
Hardcover, 9.25 x 11.75 in. / 296 pgs / 350 color.

PUBLISHING STATUS
Pub Date
Out of print

DISTRIBUTION
D.A.P. Exclusive
Catalog: SPRING 2010 p. 127   

PRODUCT DETAILS
ISBN 9783775724616 SDNR30
List Price: $60.00 CDN $70.00

AVAILABILITY
Not available

Birgit Jürgenssen's work constitutes an activity of demystification, of unveiling what fetishism seeks to repress or disavow. What is remarkable is how inventively, playfully, imaginatively and above all, critically, Jürgenssen managed to dissect, expose and indeed deconstruct the psychic fetishism attached to the representation of femininity.
Abigail Solomon-Godeau, excerpted from her essay, "If the Shoe Fits: Fetishism, Femininity and Birgit Jürgenssen's Schuhwerk, published in Birgit Jürgenssen.

  

HATJE CANTZ

Birgit Jürgenssen

Edited by Gabriele Schor. Text by Abigail Solomon-Godeau, Elisabeth Bronfen, Sigrid Schade.

Birgit JürgenssenThe Austrian artist Birgit Jürgenssen (1949–2003) was an outstanding heroine of the feminist avant garde. From the late 1960s she made the female body the focus of her work, through drawing, collage, painting and photography. With many previously unseen works from the artist's estate, this volume surveys Jürgenssen's career.

Featured image is "Fliegengewichtlerschuhe (Flyweight Shoes)" (1973) reproduced in Birgit Jürgenssen.

Birgit Jürgenssen

STATUS: Out of print | 00/00/00

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FROM THE BOOK
The Austrian Birgit Jürgenssen (1949–2003) was one of the most outstanding feminist avant-garde artists in the world. Starting from the liberating potential of Surrealism and in a dialogue with her generation’s discourse on social critique, beginning in the late sixties she developed a multilayered, stylistically multifaceted kind of art. The female body and its metamorphoses were the focus of her work, which predominately comprised drawing, painting, and photography. The Sammlung Verbund has made possible the first monograph on her work. This richly illustrated volume includes previously unknown pieces from the artist’s estate, provides an analysis of Jürgenssen’s autonomous stance in art history, and examines her relationship to literature, psychoanalysis, and Structuralism.

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