After having observed the operations of reconstructive surgery and aesthetic surgery, acclaimed figurative painter Jenny Saville was eager to express the violence and anesthetized pain of this experience in her own work. She and fashion photographer Glenn Luchford thus began an artistic collaboration that captures the full range of color, tonality, and topography of live flesh, in large photographic tableaux that portray Saville's own body. Distortions confront and coerce the viewer into an examination of his or her own body and the grotesqueries and beauties inherent within; the images likewise recall biological specimens preserved, disembodied, and disfigured. The collusion of the art and fashion worlds has produced many hybrids in recent years, yet none perhaps none as intensely striking as this series.
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About the Author
Since first appearing on the London art scene in 1994, Jenny Saville has been recognized as one of the most thought provoking and technically accomplished talents of her generation, the YBAs. She is known for her huge canvases depicting giant and fleshy nudes that confront perceptions of beauty and femininity.
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Most Helpful Customer Reviews
3 of 3 people found the following review helpful:
4.0 out of 5 stars
An exercise in corporeal exploration,
By Grady Harp (Los Angeles, CA United States) - See all my reviews (HALL OF FAME REVIEWER) (VINE VOICE) (TOP 50 REVIEWER) (REAL NAME)
This review is from: Jenny Saville & Glen Luchford: Closed Contact (Hardcover)
For those who are in awe of the majestic paintings of large nude women by Jenny Saville, this catalogue from an exhibition at Gagosian Gallery in 2002 may be a disappointment. Saville used her own corpulent body pressed against glass that distorts the expected round planes into flat surfaces. The large photographs were done in tandem with photographer Glen Luchford and they are impressive just for the size alone. But the works don't hold interest the way the paintings with Saville's sculptural use of paint on canvas do.
The book is well presented in an oversize scale to echo the size of the photographs. Katherine Dunn adds an essay that is more about Saville and her inspirations than it is about art history - very conversational and enlightening. Again, if you are expecting to see Saville's paintings here then look further. She is an important and gifted artist. Grady Harp, February 2005
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