https://streamsofbeing.artinterp.org/omeka/files/original/edac1cfac078ce238f5268efbdfb1ffb.jpg 08a4ae73f53512abc583b481cf9f7553 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data serigraph Physical Dimensions The actual physical size of the original image 21 x 19.5 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Naturaleza muerta Subject The topic of the resource Arts, Latin American--20th century Creator An entity primarily responsible for making the resource Liliana Porter Date A point or period of time associated with an event in the lifecycle of the resource 1981 Rights Information about rights held in and over the resource 2013. AMA | Art Museum of the Americas, Organization of American States (OAS). All rights reserved. Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Argentina Description An account of the resource <em>"…I became interested in the superposition of the image, the representation of something over the thing itself, shadow on shadow, wrinkle on wrinkle."</em> <div style="text-align:center;"><em>                     </em> <br />                                                                                                                        -Liliana Porter, 2009<br /><br /></div> In this screenprint, the photographic apparition of a woman’s hand appears to make contact with a heavily-contoured, art-school study of a jug, sphere, and pyramid. Where these two illusory worlds meet, they seem to transfer their qualities onto one another, the finger leaving a blue print on the jug, the jug coating the fingertip in its creamy hue. Neither illusion is real, of course; they are the material facts of various inks on paper. For five decades, Porter has explored the radical possibilities of printmaking as conceptual art. Here she exploits the serigraph, a process by which each color is hand-applied through a separate silkscreen, to combine very different kinds of representation in a single space. The resulting image becomes a metaphor for the human body’s uncanny experience of encountering the world, the ways in which we endow objects with identities and interiority even as we become increasingly estranged from ourselves. Print Serigraph South America