COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0001223
image_record_id
aahi0001223
Image Record ID
false
Work Title (display):
Trinity Towers
Image Title:
full view
Work Description:
More oblique yet shocking is her account of another theme, the erotics of the death instinct. In Trinity Towers, a Rhoplex diptych from 1982, two naked youths, seated left, appear to be contemplating the hung corpse of a third, visible in the next window. From whatever springs of memory or dated news Applebroog compiles her imagery, the meanings of her work must earn their way amid the anxieties of the present. This piece might look to us today to be a terrible comment or allegory on the misery of AIDS. But when I questioned the artist, I learned of the image's source in newspaper reports of the accidental deaths of suburban masturbators whose belief that near-strangulation improves orgasm had gotten our of hand. ( Kozloff, Max. "The Cruelties of Affection - Painter Ida Applebroog," Art in America, Sept, 1995 accessed 2008-10-23).
Work Dates (display):
1982
Work Dates type:
creation
Work Creator (display):
Ida Applebroog (American, born 1929)
Work Creator gender:
female
work_creator_or_agent_gender
female
Work Creator gender
false
Work Creator notes (display):
American painter. She attended the New York State Institute of Applied Arts and Sciences (194750) and in 1958 moved to Chicago, where she was a student at the School of the Art Institute of Chicago (19668). In 1974 she moved to New York. Applebroog's paintings were best known for their collision of imagery based on specific everyday experiences, news items and endemic social ills. She first became known in the 1970s for small books, such as Galileo Works (1977), in which her own 'narratives', consisting of leaps and jumps between ideas and images, represent a disjunction associated with social critique and a questioning of the ideologies implicit in representation. She posted them to friends and people in the art world. They were the precursors to larger sequential works such as Sure I'm Sure (ink and rhoplex on vellum, 2.56×1.72 m, 1980; artist's col.), comprising six panels, much like sinister comic-strips, combining irony and intense tenderness. She is best known for her multi-partite paintings that, as part of the legacy of feminist practice in the 1970s, deal with the 'trivial details' of everyday life as if they had the scale and weight of subject-matter of traditional history painting. By giving prominence to ordinary events or to groups of people whom she saw as victimized or marginalized, she attempted to empower such groups, especially women, by revealing those elements in their experience that she saw as common to all (e.g. Pull Down the Shade, oil on canvas, 2.18×1.52 m, 1985). Her paintings place the viewer in an uncomfortable moral position, as they demonstrate Applebroog's moral outrage and social conscience. (Grove Art Online Accessed 2008-02-06)
Work Creator UCB affiliation (display):
visiting artist, Visiting Artist Program, 1986
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:
eroticism
subject
eroticism
Work Subject
false
Work Subject:
voyeurism
subject
voyeurism
Work Subject
false
Work Subject:
figures
subject
figures
Work Subject
false
Work Subject:
nudes (representations)
subject
nudes (representations)
Work Subject
false
Work Subject:
death
subject
death
Work Subject
false
Work Worktype:
drawings
work_type
drawings
Work Worktype
false
Work Category (VRC classification):
drawings
work_category__ucbaahvrc_classification_
drawings
Work Category (VRC classification)
false
Work Material and Technique (display):
rhoplex resin on vellum
Work Measurements (display):
84 in (H) x 54 in (W)
Image Rights (display):
© Ida Applebroog
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):
© Ida Applebroog
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Center
Collection info and contact:
For information about this collection, see . For specific questions, suggestions, or corrections about the descriptive data for images, contact aahvrc@colorado.edu. Please include the Image Record ID ('aahi' followed by a 7-digit number) for each image in question.