COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0008534
image_record_id
aahi0008534
Image Record ID
false
Work Title (display):
War Series: Helicopters and Victims
Image Title:
full view
Work Dates (display):
1967
Work Dates type:
creation
Image Date (display):
2011-07-19
Work Creator (display):
Nancy Spero (American, 1926-2009)
Work Creator gender:
female
work_creator_or_agent_gender
female
Work Creator gender
false
Work Creator notes (display):
American painter. She studied at the Art Institute of Chicago from 1945 to 1949 and in Paris at the Atelier André Lhote and the Ecole des Beaux-Arts (194950). While a student in Chicago, Spero was fascinated by artefacts at the Field Museum of Natural History, especially objects from New Guinea and the New Hebrides and totems from Alaska. From the late 1950s Spero was consistently concerned with showing how the idea of woman as man's inferior had become inherent in male-dominated Western history. Her early dark oil paintings, such as Lovers (19625; priv. col., see 1985 exh. cat., p. 14), stress male and female erotic desire as a way of briefly unifying sexual polarities. Yet in these schematic and sensuous scenes, the woman is pictured only in the isolated roles of mother, lover and prostitute. In 1966 her dissatisfaction with the commercial demands of New York galleries led her to stop making easel paintings, and she began to work on paper, portraying the violent abuses of imbalanced power relations between the sexes, and the horrors of the Vietnam War, in her subject-matter. Her almost childlike gouache and ink paper works (e.g. Crematorium Chimney and Victims, 1968; priv. col., see Kuspit, p. 90) interpret the male phallus as a symbol of destruction. Spero's use of the printed and typed word in her collages of the 1970s, first appearing in her Codex Artaud series (19713), more explicitly underlined the patriarchal system's isolation and rejection of those it saw as outsiders. In the 1980s she promoted the possibilities for reordering history and reformulating women's identities through her collages employing the ancient format of the scroll and depicting the human body in pictographic language. (Grove Art Online Accessed 2008-02-06)
Work Style Period:
20th century
work_styleperiod
20th century
Work Style Period
false
Work Style Period:
Contemporary
work_styleperiod
Contemporary
Work Style Period
false
Work Subject:
victims
subject
victims
Work Subject
false
Work Subject:
beheading
subject
beheading
Work Subject
false
Work Subject:
bombs (explosive weapons)
subject
bombs (explosive weapons)
Work Subject
false
Work Subject:
monsters (legendary beings)
subject
monsters (legendary beings)
Work Subject
false
Work Subject:
airplanes
subject
airplanes
Work Subject
false
Work Subject:
vomit
subject
vomit
Work Subject
false
Work Subject:
violence
subject
violence
Work Subject
false
Work Subject:
Vietnam War, 1961-1975
subject
Vietnam War, 1961-1975
Work Subject
false
Work Subject:
blood (animal material)
subject
blood (animal material)
Work Subject
false
Work Subject:
politics
subject
politics
Work Subject
false
Work Subject:
wars
subject
wars
Work Subject
false
Work Subject:
death
subject
death
Work Subject
false
Work Worktype:
paintings (visual works)
work_type
paintings (visual works)
Work Worktype
false
Work Worktype:
drawings
work_type
drawings
Work Worktype
false
Work Category (VRC classification):
paintings
work_category__ucbaahvrc_classification_
paintings
Work Category (VRC classification)
false
Work Category (VRC classification):
drawings
work_category__ucbaahvrc_classification_
drawings
Work Category (VRC classification)
false
Work Material and Technique (display):
Ink and gouache on paper
Work Measurements (display):
35 3/4 in (H) x 24 in (W)
Work Location (Repository or Site) name:
Collection of the artist
Work Location (Repository or Site) role:
owner
Image Source Reproduction citation:
Pohl, Frances K. Framing America: A Social History of American Art. 2nd ed. New York, NY: Thames and Hudson, 2008. Print.
image_source_copy_from_print_name
Pohl, Frances K. Framing America: A Social History of American Art. 2nd ed. New York, NY: Thames and Hudson, 2008. Print.
Image Source Reproduction citation
false
Image Source Reproduction refid:
978-0-500-28715-6
Image Source Reproduction page number:
512
Image Source Reproduction plate-figure number:
8.86
Image Source Reproduction refid type:
ISBN
Image Rights (display):
© Nancy Spero
Image Rights fair use checklist:
1) use of this image is for education and educational research; 2) access is restricted to University of Colorado and Auraria Higher Education Center communities; 3) the original photographer is credited if known; 4) the image is published; 5) the amount of the work in relation to the whole is needed for education or educational research; 6) the number of derivatives is the minimum required for education or educational research; 7) the image has not been found to be reasonably available for sale; 8) duplication of the image does not violate preexisting contracts.
Work Rights (display):
© Nancy Spero
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Collection
Collection info and contact:
For information about this collection, see