David Altmejd's Sculptures Explore Monstrosity and Queer Identity in 2004 Exhibitions
An article from ART PAPERS July/August 2005 examines David Altmejd's sculptures, focusing on his use of werewolf imagery to address themes of transformation, queer identity, and societal fears. The Montreal-born artist's work, including pieces like 'The Lovers' and 'The University 2,' was featured in the 2004 Whitney Biennial in New York and a solo show at Andrea Rosen Gallery. Altmejd describes his creations as optimistic and alive, with critics linking them to Gothic aesthetics and interpretations as allegories for modern queer experiences. The analysis references theorists like Freud, Deleuze, and Guattari, and discusses the sculptures' campy, erotic elements in relation to gay art and cultural polarization.
Key facts
- David Altmejd's sculptures prominently feature werewolf figures, displayed in installations with mirrors, lights, and Plexiglas.
- His work was included in the 2004 Whitney Biennial in New York and exhibited at Andrea Rosen Gallery.
- Altmejd emphasizes an optimistic view of his art, describing it as moving toward life rather than death, despite dark themes.
- Critics and theorists interpret the sculptures as exploring queer identity, transformation, and societal fears, referencing figures like Freud and Foucault.
- The article originally appeared in ART PAPERS in July/August 2005, written by David Velasco, winner of the publication's Young Writers Contest.
Entities
Artists
Institutions
- Whitney Biennial
- Andrea Rosen Gallery
- ART PAPERS
Locations
- New York
- Montreal