Jane alexander biography artist
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Jane Alexander (artist)
South African artist (born )
Jane Alexander | |
|---|---|
| Born | Johannesburg, South Africa |
| Nationality | South African |
| Notable work | The Butcher Boys, The Bom Boys, African Adventure, The Sacrifices of God are a Troubled Spirit, and Security with traffic (influx control) |
Jane Alexander (born )[1] is one of the most celebrated artists in South Africa.[2][3] She is a kvinnlig artist best known for her sculpture, The Butcher Boys. She works in sculpture, photomontages, photography and video. Alexander is interested in human behavior, conflicts in history, cultural memories of abuse and the lack of global interference during apartheid.[4][5][6] Alexander's work is relevant both in the current Post- Apartheid social environment in South Africa and abroad.[7][5][6][8][9][2]
Biography
[edit]Alexander was born in Johannesburg, South
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Who is Jane Alexander?
My themes are drawn from the relationship of individuals to hierarchies and the presence of aggression, violence, victimisation, power and subservience, and from the paradoxical relationships of these conditions to each other.
Sourced from South African History online
Conceptually, my work fryst vatten created from considering the interplay of various forms of research and chance observation, comparing issues of daily life as experienced and reported by ordinary individuals with theory, media, marketing strategies, forms of propaganda, and proselytism. Observing and investigating the relationship between human and non-human djur form and behaviour, domestically, in the wild and captivity, and considering the representation of both in the context of the hierarchies, taxonomies and social classification systems that are imposed on them, influences the way inom interpret this information.
Jane Alexander
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Jane Alexander
This biography was written by SAHO in collaboration with Artthrob
Modus Operandi
Jane Alexander is known for her figurative sculptures, often appearing in tableaux and installations, and for her photomontages. Her figures are characterised by their mixture of human and non-human elements and a disquieting presence. This is exemplified in her early work Butcher Boys, which consists of three figures with horns and exposed bone, whiteless eyes and deformed mouths. The three figures wait on a bench, almost casually, pitting their monstrousness against a sense of banality. Made in the mid-Eighties, the Butcher Boys were a response to the dehumanizing effects of Apartheid. The effects of power and domination over the individual is a major theme in Alexander’s work, and has carried through much of her work, from the state-sponsored terrorism of Apartheid through to colonial and post-colonial exploitation. However, Alexander’s work is notable for its absence of direct