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Margaret Harrison
England, b. 1940

Margaret Harrison England, b. 1940

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Open a larger version of the following image in a popup: Margaret Harrison, Ellen's Dress, 1998
Open a larger version of the following image in a popup: Margaret Harrison, Ellen's Dress, 1998
Open a larger version of the following image in a popup: Margaret Harrison, Ellen's Dress, 1998

Margaret Harrison England, b. 1940

Ellen's Dress, 1998
Acrylics on canvas.
3 parts: 123 x 153 cm , 123 x 153 cm, 132 x 153 cm.
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Further images

  • (View a larger image of thumbnail 1 ) Margaret Harrison, Good enough to eat, 1971
  • (View a larger image of thumbnail 2 ) Margaret Harrison, Good enough to eat, 1971
  • (View a larger image of thumbnail 3 ) Margaret Harrison, Good enough to eat, 1971
Dress and clothing, elaborated according to the mandates of sex, gender, and sexuality, are associated with landscape in this series, as a way of dismantling the ‘natural’ narrative that sustains...
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Dress and clothing, elaborated according to the mandates of sex, gender, and sexuality, are associated with landscape in this series, as a way of dismantling the ‘natural’ narrative that sustains them and emphasizing that both are signs, cultural constructs. How is a landscape built? Why do its inhabitants live there as they do? The artist poses such questions with Ellen’s dress (1998), using the painting to situate women’s experiences in a global context. She establishes a comparison between ordinances of sex, gender and sexuality with the production and circulation of goods. Ellen’s dress tells the story of the dress that Harrison bought in Cumbria, the one Ellen wears in the painting, which was made and sold in the geographic locations listed around her figure.

El vestuario y la ropa, elaborados según los mandatos del sexo, género y sexualidad, se asocian con el paisaje en esta serie, como una forma de desmantelar la narrativa 'natural' que los sustenta y enfatizar que ambos son signos, construcciones culturales. ¿Cómo se construye un paisaje? ¿Por qué sus habitantes viven allí como lo hacen? La artista plantea tales preguntas con Ellen’s dress (1998), utilizando la pintura para situar las experiencias de las mujeres en un contexto global. Establece una comparación entre las normativas del sexo, género y sexualidad con la producción y circulación de bienes. Ellen’s dress cuenta la historia del vestido que Harrison compró en Cumbria, el que Ellen lleva en la pintura, el cual fue fabricado y vendido en los lugares geográficos enumerados alrededor de su figura.
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