Hannah Wilke The Youngest Child Of Jewish Parents, Selma...

Hannah Wilke Hannah Randolph College of Saint Mary Abstract Hannah Wilke was born Arlene Hannah Butter in New York City on March 7, 1940. She was the youngest child of Jewish parents, Selma and Emanuel Butter. Hannah and her older sister Marsha, born Marsie Scharlatt, both attended public school in Queens, and in 1957, Hannah graduated from Great Neck High School. She then attended Stella Elkins Tyler School of Fine Art at Temple University in Philadelphia until 1962 when she graduated and received a Bachelor of Fine Arts as well as a teaching certificate. Shortly after graduating, Hannah began teaching at Plymouth-Whitemarsh High School in Pennsylvania from 1962 to 1965, and from 1965 to 1970, she taught at White Plains†¦show more content†¦One way she transformed the negative into positive was constructing her sculptures out of disposable objects, such as lint. Her work was also have said to recall minimalism because she would display this work, usually, in an organized and repetitive manner. At this time in Hannah’s life, s he was gaining a lot of momentum in the art world. Subsequently, her work was included in the â€Å"American Women Artists† exhibition in 1972 at the Kunsthaus in Berlin and the Documenta V in Kassel, West Germany (Scharlatt, M., Scharlatt, E., Scharlatt, D., Scharlatt, A.). Her notable art was praised by many feminist publication groups, and in 1974, she was invited to join the â€Å"Anonymous Was a Woman† exhibition as well as â€Å"Art: A Woman’s Sensibility† exhibition held by the Feminist Art Program at the California Institute of the Arts (Scharlatt, M., Scharlatt, E., Scharlatt, D., Scharlatt, A.). In the 1970s, Hannah began using her body as a canvas for performance pieces. She called this her â€Å"performalist self-portraits,† (Smith, 1993) and they were documented by either video or by photographs. These particular performances, according to Hannah â€Å"confront erotic stereotypes by calling attention to and making ironic the conventional gestures, poses, and attributes of the female body† (Hannah Wilke Collection, 2015). In 1974, Hannah began working on S.O.S. or Starification Object Series, a fifty self-portrait installation,