321:, also a collaboration and documented in a book, was introduced by MoMA PS1, Strand Books, Barnes & Noble, McNally Jackson, and others. It addresses the meaning of flowers and animals to human beings. Masked as a traditional coffee table book, it quotes from the genre while turning it inside out, "subtly undermining our notion of the meaning of beauty". The images it offers are not innocent pretty flowers but elegant, compelling, and yet grotesque sculptures that the artist has created from the offal, sex organs, and other parts of animals, “pushing us into a realm where we question our relationship with beauty, animals, and dinner", the foundations of aesthetic reception in general and our use and abuse of nature. 100 prominent intellectuals, writers, and artists (such as
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46:) or other discarded, disdained, or "taboo" materials, has aroused controversy and has been considered horrific, repulsive or sensationalist by some critics, while others have hailed her as an "imaginative provocateur", "a force of nature..., an artist and a humanist who is making a selfless contribution to life", and an artist whose works provoke a "reaction akin to having witnessed a murder".
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164:, and creating the impression of a heightened realism, a portrait actually "in the flesh". Hatry was the first artist to use untreated pigskin and other animal parts to create realistic depictions, chiefly sculptural, of the human visage, sometimes of a character suggestive of renaissance art. She has experimented with numerous preservation techniques, including the now-famous "
118:, Heinz-Norbert Jocks, Renée Vara, Michaël Amy, Elsbeth Sachs, Cornelia Koch, Christoph Zuschlag, Veronica Mundi and Hans Gercke) to participate in the project, maintaining the conceit and treating each of their subjects as unique, living, artists. Hatry created an artist portrait for each of her individual "selves" using prosthetics and make-up, in a manner akin to the work of
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At least one of these portraits has itself become a recognizable contemporary feminist icon (cf: Betty Hirst). During several events relating to the exhibition, Hatry or an actress she engaged, would play the role of one or more of her fictional selves. The book is characterized by mis-direction and
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The oil spill in the Gulf of Mexico in 2010 “inspired” Hatry to create artworks by collecting and preserving found roadkill, soaking them in oil and tar, and presenting them as sculptures and on canvas. Her solo exhibition at Pierre Menard
Gallery in 2010 was followed by a benefit exhibition and
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is a collaborative endeavor between Hatry and twenty-seven female authors whom she invited to create "lives" for a series of sculptural busts of women. The often eerie or haunting visages were produced using untreated pig skin, flesh and body parts, and the original objects decayed shortly after
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deception of many sorts and on various levels, including reference to non-existent artists, books, and passages in (real) books, misquotation, illusory footnotes, false attribution, and pseudonymy, including dissembling gender identities, while nevertheless forwarding legitimate critical theses.
591:, an installation that was constructed at Undercurrent Projects, NY, and consisted of an entire room in which everything, from floor to ceiling, was rusted, including table, chairs, shelves, books, bric-a-brac, and even the CD-player on which the Verdi Requiem was playing during the exhibition.
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is most commonly received. The seven female artists all working with skin as a medium are in fact seven facets of Hatry herself. In the book, she fragments her own biography and accordingly distributes aspects of the work among seven distinct personae. Hatry prevailed upon nine art historians,
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their creation. Hatry documented the busts in the photographs, which illustrate the published book. The literary evocations of these women's lives treat a wide range of female experience, but frequently address the violence, abuse, suffering and subordination that
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Hatry contends and cites the experience of others who have commissioned the works as well, that the relationship to grieving, indeed to death, is altered by the “presence” that the portraits embody and that they exude a truth that is both “uncanny and consoling.”
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in 2014. The project was conceived to address the questions of value in art and the value of art and included sincere, if ostensibly provocative, discussion with random members of the art-viewing public at events whose purpose was otherwise merely social.
483:. These cover a wide range of topics, from art history through anthropology, psychology, philosophy, semiotics, ecology, and beyond, as well as discussing death taboos, post-mortem practices, personal experience, the impact of the relic, and more.
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Hatry created 200 tiny rusty “balloon dogs” for use in
Situationist-style performances, some of them “guerilla” stagings, that she enacted at several locations, including the Frieze Art Fair, NY and at public events during the
413:...) address “the question of the flower” from a multiplicity of perspectives, including anthropology, philosophy, psychology, sociology, philology, botany, neuroscience, art history, gender studies, physics, and chemistry.
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or statuary, two-dimensional abstract constructions, paintings in blood, and paintings treating art-historical subjects seen through a film of animal bladder or translucent animal skin, reminiscent of certain work by
540:?, the light-hearted public project became a locus for family discussion of Climate Crisis as well as a spontaneous outdoor art tutorial for kids that attracted daily crowds and significant notice in the press.
66:. She left home at the age of 15 to enroll in a sports school. Later she studied painting, printing, typography, photography, and sculpture at various art schools including the Akademie der Bildenden KĂĽnste in
435:, published by Station Hill Press in 2017 in which twenty-seven contributing authors have offered a multiplicity of perspectives on the human relationship to death. The contributors include Michaël Amy,
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made out of pigskin and spattered with blood; and her best-known performance-work, "Expectations", which has been presented at several venues including the Hudson Valley Center for
Contemporary Art,
183:, was mounted in numerous private and public venues in the United States and Europe, and Hatry’s “own” contribution, a performance in which she constructed a “skin room,” was documented by Cosmoto.
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in
October, 2004 and consisted of a diverse group of paintings, objects and unique books, with an emphasis on new work that would eventually become part of her book project entitled
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78:. After many years teaching painting while co-founding and operating an antiquarian book shop in Heidelberg, she began her career as a visual artist in 2003 in New York.
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mosaics are completely hand-made realistic portraits created from human ashes inserted in beeswax. The project is accompanied by the book publication,
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Since 2004, Hatry also created a significant body of performance works, many documented in videos, including "Skin Room", which was performed in the
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describes in her introduction to the volume as the common lot of women: "Finding a way to be a woman is finding a way to live with fatal knowledge."
1390:"US Patent Issued on Feb. 2 for 'Method of preparing a likeness of a deceased human or animal' (German Inventor)" (Press release). 3 February 2021.
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is a complex and thoroughly-conceived conceptual project in which Hatry plays on the fact that skin is the medium through which individual
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memorial portraits more affordably, and she subsequently expanded the scope of the project to include portraits of deceased pets as well.
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documents is of a very diverse character, including sculptural objects, some of a realistic nature, some invoking comparison to
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1104:"When a Cow Vagina Becomes a Flower with Avital Ronell, Steven Pinker, Dale Jamieson, Linda Weintraub, and others"
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is a social, humanistic and aesthetic project that proposes a new way of seeing and honoring the dead. Hatry's
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Hatry has frequently served as a curator. Her numerous solo and group exhibitions have included work by
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913:"Controversy Surrounds Artist Heide Hatry Success – Heads and Tales in Madrid During ARCO 2010"
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1694:"Introducing Heide Hatry,... Three New York City artists you probably don't know, but should"
894:"Introducing Heide Hatry,... Three New York City artists you probably don't know, but should"
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635:, MA; Kunstverein Nord, Berlin, Germany; and the 10th Barcelona Art Contemporari Festival,
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806:, Mount Allison University, Sackville, Canada; AC–Institute, New York, NY, 2nd ed., 2013.
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auction which she organized with more than 80 participating artists to support the
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802:, Pierre Menard Gallery, Cambridge, MA, 2011; Dalhousie Gallery, Halifax, Canada;
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Interview with
Carolee Schneemann and Heide Hatry with Thyrza Nichols Goodeve in
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1535:"SNOWBANKSY, Adorable Snow Polar Bears in Central Park Highlight Climate Change"
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Censorship: An Open
Discussion About Disguising The Provocative, at Strand Books
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42:. Her work, often either body-related or employing animal flesh and organs (cf:
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820:. New York/Cambridge, MA: Daneyal Mahmood Gallery/Pierre Menard Gallery, 2008.
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Allison Meier. "Memorial
Portraits Made with the Subjects’ Ashes" in
788:. New York: Station Hill Press in association with Ubu Gallery, 2017.
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1560:"Save the polar bears, Italian happy hour, croissants for a cause"
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She has also edited many books and catalogues, and her own unique
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She also mounted her meditation on time and ephemerality entitled
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1971:
Evan J. Garza. "Slideshow: Heide Hatry at Pierre Menard
Gallery"
1796:"An ice-ax to break your frozen soul. Interview with Mike Landry"
1460:"Artist creates portraits of dead people using their own remains"
532:. in February 2021. Accompanied by “explanatory” signs, such as:
1162:
David
Streitfeld, Columnist, New York Times, from his blurb for
1911:
Interview with Heide Hatry (Thyrza
Goodeve and Laila Pedro) in
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among others, are held in many private and public collections.
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1114:"Heide Hatry's Not a Rose: Disgust and the Cult of the Flower"
1818:"New York-One of a Kind: Unique Artist's Books: AC Institute"
1176:"Icons In Ash | Cremation Keepsakes | Pet Memorial Portraits"
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1741:"Carne Diem. What meat art can tell us about life and death"
615:, Germany; "Politics", which was performed on 9/11, 2007 in
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Heide Hatry: The Rust Room. Undercurrent Projects, New York
1485:"Polar Bear Sculptures Bring Snowy Smiles to Central Park"
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was exhibited in museums and commercial gallerg New York,
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1201:"Heide Hatry with Thyrza Nichols Goodeve and Laila Pedro"
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Goodeve, Thyrza Nichols and Laila Pedro (2017-05-01).
168:" method of the prominent pathologist, and impresario
1510:"Artist creates snow bear sculptures in Central Park"
1435:"Woman Crush Wednesday: Heide Hatry — Musée Magazine"
1654:"Der Geist der Schwelle im Licht tradierter Rituale"
172:, with whom she had been acquainted in Heidelberg.
1342:"Memorial Portraits Made with the Subjects' Ashes"
489:was launched at different locations including the
1250:"Heide Hatry – Icons in Ash – Station Hill Press"
524:Hatry's most recent project consists of about 20
240:. Hatry's collaborators in the project included
179:served as the putative catalogue, significantly
1317:"HEIDE HATRY Icons in Ash: Cremation Portraits"
1272:BT symposium session 2A: Loss & Bereavement
443:, Thyrza Nichols Goodeve, Anthony Haden-Guest,
1963:Interview with Heide Hatry and Ron Broglio in
1293:"On The Scene: Book Party for 'Icons In Ash'"
827:. Cambridge, MA: Pierre Menard Gallery, 2007.
8:
62:Hatry grew up on a farm in the outskirts of
1226:"Gothic exhibition raises lively questions"
147:, 2004. Preserved pigskin, meat and thread.
1979:Cosmoto. "SKIN", video documentation of
1936:Claudia Steinberg. “Perverse Poesie” in
1608:"Heide Hatry | Rusty Dog (2014) | Artsy"
497:(CAA) and exhibited at Ubu Gallery, the
1224:Moustakas, Tiffany (24 November 2017).
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1954:Pia Cordero. “Potentia formae est” in
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1558:Pineda-Salgado, Andrea (2021-02-24).
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800:One of a Kind, Unique Artist's Books
451:, Siri Hustvedt, Claudia Steinberg,
1816:Joyce Beckenstein (December 2013).
70:and the Pädagogische Hochschule in
795:. Milan/New York: Charta, 2012/13.
499:National Museum of Funeral History
495:College Art Association of America
493:, at the Deutsche Haus (NYU), the
471:, Luisa Valenzuela, Adele Tutter,
93:Her first solo show took place at
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2027:21st-century German women artists
779:Selection of Books and Catalogues
538:Mommy, what is a carbon footprint
1945:Ute Thon. “Blumen des Bösen” in
1878:"BP backlash: Artists bite back"
1781:"Out of the Box, at Elga Wimmer"
1692:Shuster, Robert (22 July 2009).
1584:"BP backlash: Artists bite back"
1050:"Introduction - Giving Her Life"
892:Shuster, Robert (22 July 2009).
186:Her second large-scale project,
114:critics, curators and thinkers (
74:, as well as art history at the
813:. New York/Milan: Charta, 2009.
631:, Providence, RI; Studio Soto,
1860:"Heide Hatry. Skin Treatments"
1533:Young, Michelle (2021-02-22).
1508:Kristafer, Ryan (2021-02-23).
508:for a new technique to create
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1898:Website of artist Heide Hatry
1458:Morley, Nicole (2017-03-01).
1340:Meier, Allison (2017-03-20).
2012:21st-century German painters
1014:Heide Hatry. Heads and Tales
459:, Lydia Millet, Rick Moody,
2052:German installation artists
2042:German contemporary artists
1483:Clark, Roger (2021-02-23).
1291:Rico, Sergio (2017-05-16).
504:In 2021 Hatry received the
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1997:German performance artists
1365:Rouner, Jef (2019-08-07).
2037:Women performance artists
1762:"Much More Than Meat Joy"
433:Heide Hatry: Icons in Ash
175:The exhibition for which
157:African or Etruscan masks
1958:(in English and Spanish)
1923:Memorial Project website
1269:art.earth (2022-01-18),
641:Catinca Tabacura Gallery
619:, New York, with a huge
613:Heidelberger Kunstverein
76:University of Heidelberg
1069:Heide Hatry. Not a Rose
2032:21st-century sculptors
2017:Contemporary sculptors
745:Johann Wolfgang Goethe
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270:Thyrza Nichols Goodeve
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1652:Heinz-Norbert Jocks.
1410:"ANIMA IN ASH • Pets"
1048:Catharine MacKinnon.
968:"Meat after Meat Joy"
723:Unique Artist’s Books
719:, and many others...
703:, Peter Downsbrough,
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579:Retrospective at the
246:Mei-mei Berssenbrugge
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1712:"Carolee Schneemann"
978:on 11 December 2008.
823:HATRY, Heide (Ed.):
816:HATRY, Heide (Ed.):
798:HATRY, Heide (Ed.):
709:Kahn & Selesnick
501:, and other venues.
343:Jonathan Safran Foer
1230:The Riverdale Press
1150:from her blurb for
1072:. Charta Art Books.
1017:. Charta Art Books.
954:Publisher's website
818:Meat After Meat Joy
741:Friedrich Hölderlin
731:"treating texts by
677:Regina Jose Galindo
347:Anthony Haden-Guest
290:Micaela Morrissette
218:Catharine MacKinnon
1840:www.heidehatry.com
1822:Sculpture Magazine
1414:www.animainash.com
849:Neo-conceptual art
825:Carolee Schneemann
653:Carolee Schneemann
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399:Justin E. H. Smith
357:, Thyrza Goodeve,
236:, Heidelberg, and
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170:Gunther von Hagens
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132:, Photograph, 2005
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1965:Antennae Magazine
1803:Telegraph Journal
1588:www.mutualart.com
1539:Untapped New York
1371:Houston Chronicle
1205:The Brooklyn Rail
1118:Artvironmentalist
804:Owens Art Gallery
761:Jorge Luis Borges
707:, Chie Hasegawa,
598:Video still from
565:Rusty Dog Project
463:, Steven Pinker,
453:Thomas W. Laqueur
53:Heide Hatry, 2005
22:(born 1965) is a
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629:Brown University
445:Eleanor Heartney
407:Luisa Valenzuela
302:Luisa Valenzuela
294:Selah Saterstrom
274:Jessica Hagedorn
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713:Annette Lemieux
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643:in NY in 2017.
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526:snow sculptures
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477:Linda Weintraub
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403:Klaus Theweleit
363:Richard Macksey
327:Stephen T. Asma
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222:Heads and Tales
213:Heads and Tales
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188:Heads and Tales
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116:Susanna Partsch
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737:Frederic Tuten
729:artist's books
724:
721:
701:Chrissy Conant
693:Richard Humann
673:Theresa Byrnes
657:Tania Bruguera
648:
645:
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581:Whitney Museum
571:
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547:
545:
544:Other projects
542:
521:
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420:
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371:Richard Milner
315:
310:
282:Katia Kapovich
278:Elizabeth Hand
258:Mary Caponegro
242:Jennifer Belle
208:, Charta, 2009
197:
192:
151:The art which
95:Volume Gallery
90:
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32:neo-conceptual
16:German painter
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1921:Icons in Ash
1920:
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1839:
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1720:the original
1715:
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1672:
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1657:
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1229:
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1180:Icons In Ash
1179:
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911:Macu Moran.
906:
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786:Icons in Ash
785:
769:Robert Kelly
765:Franz Wright
757:Walter Abish
726:
705:Max Gimblett
685:Larry Miller
669:Kate Millett
661:Jana Sterbak
650:
617:Central Park
610:
600:Expectations
599:
588:
586:
573:
568:
564:
554:
549:
537:
534:Let us chill
533:
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510:Icons in Ash
509:
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487:Icons in Ash
486:
485:
473:Peter Weibel
461:Marc Pachter
449:Phoebe Hoban
437:Hans Belting
432:
429:Icons in Ash
428:
425:Icons in Ash
424:
422:
418:Icons in Ash
417:
411:Franz Wright
395:Peter Singer
367:Kate Millett
359:Lucy Lippard
318:
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312:
286:Lydia Millet
266:Diana George
262:Thalia Field
221:
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166:plastination
152:
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2022:1965 births
1973:The Phoenix
1949:(in German)
1947:Art Magazin
1940:(in German)
1938:ARTInvestor
1489:www.ny1.com
1321:Ubu Gallery
1086:|work=
1031:|work=
936:The Drawers
917:Prnewswire.
607:Performance
530:polar bears
520:Polar Bears
481:Naief Yehya
469:Wolf Singer
457:Jonas Mekas
331:Bazon Brock
298:Iris Smyles
230:Los Angeles
130:Betty Hirst
20:Heide Hatry
2002:BioArtists
1991:Categories
1864:Exhibition
1845:2022-03-08
1726:2015-07-19
1716:Weekly Dig
1679:2022-03-08
1658:Kunstforum
1639:2022-03-08
1617:2022-03-08
1593:2022-03-08
1569:2022-03-08
1544:2022-03-08
1519:2022-03-08
1494:2022-03-08
1469:2022-03-08
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1396:2485783390
1376:2022-03-08
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1185:2022-03-08
1164:Not a Rose
1152:Not a Rose
991:"Video of
793:Not a Rose
749:John Keats
733:Paul Celan
665:Zhang Huan
647:Curatorial
577:Jeff Koons
491:New Museum
379:Rick Moody
339:Karen Duve
319:Not a Rose
313:Not a Rose
82:Art career
72:Heidelberg
1981:Skin Room
1882:Mutualart
1746:Meatpaper
1673:SKIN ROOM
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993:Skin Room
989:Cosmoto.
854:Video art
689:Pat Steir
639:, and at
637:Barcelona
625:Peekskill
589:Rust Room
569:Rust Room
550:Oil Spill
441:Mark Dery
226:Cambridge
204:Cover of
68:Stuttgart
58:Biography
2047:Body art
1514:FOX 5 NY
1392:ProQuest
1108:MOMA PS1
869:Body art
843:See also
423:Hatry's
111:identity
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1137:YouTube
859:Bio-art
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306:Can Xue
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771:, and
633:Boston
627:, NY;
602:, 2007
536:, or,
506:patent
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304:, and
238:Berlin
234:Madrid
228:(US),
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1799:(PDF)
1464:Metro
999:Vimeo
880:Notes
1090:help
1035:help
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