detraction

An exhibition by Tamsin Green

Tamsin Green's work is based on the place of the feminine in the history of art and theory: where women are often the under-acknowledged material support for artistic and literary products. The immediate subject of  Detraction is the famous allegory of desire found in  The Large Glass (The Bride Stripped Bare by Her Bachelors) by Marcel Duchamp. Tamsin transforms this work horizontally, materially and ideologically and the result is a three metre wide ink on silk print that will be suspended in the Eildon Gallery, along with a number of other complementary works.

Alliance Francaise Eildon Gallery
51 Grey St, ST KILDA

28 June to 28 July 2017

Opening: Wednesday 28 June, 6.30pm to 8pm

RSVP HERE

Artist talk with Briony Galligan: Saturday 1 July, 4pm

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Artist's Statement

The sin of detraction is to tell a true story: to let the transgressions of a third party be known. This is what I attempted in my last exhibition at the Alliance: Theft: Prints and Drawings, I wanted to tell the audience about the crimes of Jacques Lacan. Despite my admiration for his work I was troubled by Lacan’s misuse of Marguerite Pantaine - Anzieu. In particular how he aquired but never returned her novels. The missing novels of Marguerite Pantaine are an analogy for the place of the feminine in the history of art and theory: where women are often the under-acknowledged material support for artistic and literary products. In this new work, Detraction, I have a different subject, but have continued with the same methods: working to reveal and emphasise the place of the feminine within art history.  

The immediate subject of this work the famous allegory of desire: The Large Glass (The Bride Stripped Bare by Her Bachelors, Even) by Marcel Duchamp. In the studio I have taken apart the elements of this work and examined them, replacing Duchamp’s analogies for desire with my own. The chocolate grinder in the original is a mechanical portrait of the pulse and circulation of production. Duchamp was obsessed with this sort of substitution – a car for a woman, with a headlight for a child. Like other artists of this time Duchamp imagined a future perfect mechanical bride – one without the constraints of the body.

Like Picabia’s  Girl Born Without a Mother, these mechanical women would not be limited by their flesh, or by their fleshy relations. My work turns this motivation around drawing on the inheritances of the feminine in both art and literature. In the  Glass desire is suspended, frustrated, between the masculine and feminine planes, but in my work I have attempted to collapse this division. I work elliptically, replacing one thing with another in a chain of reference that emphasizes indeterminacy over division.

Over the past decade, I have crossed spatial, theoretical, and medium-based boundaries in order to respond to the following questions: what does it mean to represent another; how can artists address gaps and absences in historical accounts; and how can feminist methodologies restore an art historical narrative dominated by men’s works and men’s interpretations? For me, art practice is about following narrative threads, testing propositions, and experimenting with new techniques and materials.

This project has been supported by the City of Port Phillip through the Cultural Development Fund.


Artist BIOGRAPHY

Tamsin Green is a contemporary artist and writer who has exhibited locally and internationally since 2007. Tamsin’s work has been supported by grants from the Australia Council for the Arts, Creative Victoria, and The City of Melbourne. Tamsin has been involved in a number of artist run and curatorial projects. Her recent solo exhibitions include Covers at Bus Projects Melbourne and Theft: Prints and drawings at the Eildon Gallery, Alliance Francaise: a exhibition that attempted to recover the unknown history of Marguerite Pantaine.

Tamsin currently lectures at MADA, Monash University. She has taught across the art history theory and studio programs at both the undergraduate and higher degree level. Her practice, research and teaching are informed by the histories of photography and performance practice, as well as psychoanalysis and aesthetic theory.

Tamsin has participated in a number of residencies, including an international residency with The Icelandic Association of Visual Artists (SIM) in Reykjavik, Iceland. Tamsin's currently project,  Detraction, is supported by the City of Port Phillip through the Cultural Development Fund.

BA (University of Melbourne), BFA (Monash University), MA (Monash University)

www.tamsingreen.com.au 


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