Artistas sempre ficaram intrigados com mulheres à beira das bordas, na fronteira dos limites. William Hunt, da Irmandade Pré-Rafaelita, apaixonou-se por Annie Miller, uma prostituta, depois de pintá-la– a despeito de sua angústia religiosa. Picasso frequentava bordeis desde os treze anos e uma de suas pinturas mais famosas Les Demoiselles d’Avignon retrata cinco prostitutas. Picasso foi também um dos muitos – entre os quais estavam Jean Cocteau, Alexander Calder e Pablo Gargallo – fascinados pela selvagem e desinibida Kiki de Montparnasse.
In 2011, she was invited to join an international board of advisers for the Charlatan Ink Art Prize, despite (or, perhaps, because of) her ongoing criticism of the idea of competition in art. She was also featured as one of four ‘Empowered’ young celebrities featured on the cover of the US magazine, Obvious. In her introduction to the accompanying interview, the writer Nancy Southwick observed, “Her provocative work has captured the attention of many of the trendsetters of our time. The subject matter is intensely sexual yet it evokes a kind of girlie openness that is refreshing. Nothing about her work or her nature is compromised. The work is pivotal and it strikes a chord within the viewer and makes them succumb to an inner dialogue with themselves”.
Since 2006, Hazel Dooney has emerged as one of the Asia-Pacific region’s most controversial female artists. According to the U.S. magazine, Obvious, “She is the outsider everyone wants to be connected with.” (January, 2011) In 2001, when she was just 22, Hazel Dooney was invited to join nine, very well established, middle-aged Australian male artists […]