Male becomes female. Female becomes male. Life becomes art. Private becomes public. A major feature of the 2014 Whitney Biennial, this series of photographs that the New York Times called "extremely provocative," explores ideas of transformation both physical and psychological. It's the story of two people in love, in a culture where the notion of gender has become more fluid and at a time when trans people have never been more accepted. As both subjects and creators of these images, Drucker and Ernst, both of whom ...
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Male becomes female. Female becomes male. Life becomes art. Private becomes public. A major feature of the 2014 Whitney Biennial, this series of photographs that the New York Times called "extremely provocative," explores ideas of transformation both physical and psychological. It's the story of two people in love, in a culture where the notion of gender has become more fluid and at a time when trans people have never been more accepted. As both subjects and creators of these images, Drucker and Ernst, both of whom transitioned gender, represent themselves in the midst of shifting subjectivities and identities. Collectively, these photographs, which have been compared to the work of Larry Clark, Nan Goldin, and Cindy Sherman, document the story of their romantic and creative collaboration over a period of six years. Simultaneously narrative and documentary, they touch on a host of dynamics, offering autobiography as ambiguity and unraveling identity as a construction.
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