Dimensions: support: 230 x 331 x 24 mm
Copyright: © Gillian Carnegie | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: This is Gillian Carnegie’s *rsXXII-/8-7*, an oil painting. The subject matter feels unexpected, almost confrontational in its partial view. What strikes you about this piece? Curator: It's interesting how Carnegie subverts the typical male gaze often associated with nude paintings. She presents a fragmented, almost clinical view, removing much of the romanticism. Do you think this challenges the viewer's expectations? Editor: Absolutely, it's like she's commenting on the objectification of the female form by depersonalizing it. I hadn't considered the power dynamic at play. Curator: Exactly. And notice the muted palette; it further neutralizes the subject, emphasizing the physicality rather than sensuality. It invites us to question the cultural narratives surrounding the nude in art history. Editor: This has really opened my eyes to the social commentary embedded within seemingly simple representations. Thanks for the insightful perspective. Curator: My pleasure. It’s rewarding to unpack how art can reflect and critique societal norms.
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rsXXII-/-8-7 depicts a close-up view of the artist’s naked bottom, based on a photograph she took herself. The title follows a system of classification without any specific meaning. The work is part of a series the artist calls her ‘bum paintings’. These paintings have often been discussed as experiments in composition, light, colour and technique. However, for the artist they have a deeper significance. She explained, ‘I get access to a part of me I can never see without assistance and that usually places me in a vulnerable position ... it’s what drives the work.’ Gallery label, December 2020
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