# data[].attributes.headline
Androgyne III. Magdalena Abakanowicz. 1985. Burlap, resin, wood, nails, and string.

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Androgyne III. Magdalena Abakanowicz. 1985. Burlap, resin, wood, nails, and string.

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Abakanowicz was a polish artist that had first hand experiences with the horrors of WWII. She watched as her neighborhood was invaded by Nazi soldiers and her family eventually fled as tensions grew higher in Poland between the Soviet Union and Nazi Germany, Abakanowicz ended up in Warsaw where she became a nurse‘s assistant. After the war, Abakanowicz attended the Academy of Fine Arts in Warsaw and eventually graduated in 1955. At the academy she was taught on Social Realism which was a style of art that focused on an unrealistic utopian society, in which Abakanowicz hated. After the academy, Abakanowicz began to gain an interest in human anatomy because she wanted to incorporate it into art. She began to visit laboratories and learned about the process of dissection in order to get an accurate body structure and textures of skin. In 1985, Abakanowicz used her knowledge on human body sculptures and made Androgyne III. Androgyne III portrays a mutilated  human body that has defined human back, the body is leaning forward with its elbows tucked in tightly. The skin on the body is cracked and on the left side of the middle to lower back there are deep wounded scars. On the upper left portion of the back there is a spider web of dark colored veins that spread on to the left shoulder. Abakanowicz used a molded-torso shell to construct Androgyne III. The molded-torso shell is made out of burlap, resin, wood, nails, and string. Additionally, Abakanowicz added a new element into her typical sculptures which is the wooden bench (in which the sculpture sits on) that is  made out of four logs. Abakanowicz suffered unimaginable trauma during WWII and through Androgyne III she wanted to demonstrate the horrors of war and disastrous living conditions that were endured under the communist regime. Abakanowicz created Androgyne III with intention that the viewers would see the humanity of the sculpture and completely erase any idea of gender, she intended that the exterior hard side of the sculpture was just as important as the interior hollow side of the sculpture.

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Pisupo Lua Afe (Corned Beef 2000). Michel Tuffery. 1994. Mixed Media. 

# data[].attributes.subject
Pisupo Lua Afe (Corned Beef 2000). Michel Tuffery. 1994. Mixed Media. 