leather, nails, epoxy paint and wood Archives - Phoenix Art Museum https://phxart.org/art_medium/leather-nails-epoxy-paint-and-wood/ Art, Culture, Film in Downtown Phoenix, AZ Wed, 01 Jan 2025 12:39:02 +0000 en-US hourly 1 https://phxart.org/wp-content/uploads/2019/10/PAM-Favicon.png leather, nails, epoxy paint and wood Archives - Phoenix Art Museum https://phxart.org/art_medium/leather-nails-epoxy-paint-and-wood/ 32 32 Head (Cabeza) https://phxart.org/arts/cabeza-alternate-title/ Thu, 19 Sep 2024 16:31:28 +0000 https://phxart.wpengine.com/arts/cabeza-alternate-title/ Nancy Grossman began making leather-bound, zipped-up sculptures in the 1960s with the belief that physical objects have the power to provoke discussion. This sculpture has disquieting elements that invite debate about identity, gender, sexuality, and issues of violence. Initial responses to this work questioned the aggressively masculine appearance. Grossman replied to the responses that works

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]]> Nancy Grossman began making leather-bound, zipped-up sculptures in the 1960s with the belief that physical objects have the power to provoke discussion. This sculpture has disquieting elements that invite debate about identity, gender, sexuality, and issues of violence. Initial responses to this work questioned the aggressively masculine appearance. Grossman replied to the responses that works like this one were self-portraits that represent her otherness or maleness. Though this object has no conclusive gender, the use of leather and the strong jaw insinuate society’s perceptions of masculinity and maleness. Her work challenges binary notions of gender identity; suggesting instead a fluidity of otherness that is both male and female.

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