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Elizabeth A.Sackler Center for Feminist Art

Ariane Lopez-Huici

New York, NY

In 1975, Ariane Lopez-Huici decided to dedicate herself to photography and does her first one-woman exhibition at Dartmouth College in 1977. In 1980, she moves and settles in New York with her husband, the sculptor Alain Kirili. In 2004, two major retrospectives of her work are exhibited at the Museum of Grenoble, France, and at the IVAM in Valencia, Spain. In 2008, the New York Studio School presents a retrospective of her most recent works.

Her work focuses on the human body, transgressing the conventional canon of beauty. Accentuating the shadowy areas of the human adventure, she uses black and white photography with a pronounced grain and deep blacks. Her series Adama & Omar and Kenekoubo develops her interest in any kind of physical and sensual expression. Her most recent series Rebelles and Triumph deal with a group of volumptuous women asserting their majesty. And her most recent series Priscille (2009-2010) with an amputated model, claims in the tradition of Rodin to be for the true beauty and personality of the fragmented body. Of Dalila, Ariane Lopez-Huici writes:

“These models are heroes of our time. Through their talent, their strength and courage, they enlarge the boundaries of our emotional and visual world. Their beauty emerges from the poetry of their bodies in weightlessness. El Duende, life itself. The imperfection is the art of freedom opposed to the fascism of Apollonian art. I love Goya, Dziga Vertov, Maya Deren, and Antonin Artaud.”

Feminist Artist Statement

Since the 1970s, I have followed with great attention the courageous movements of women against the discrimination of their representation or group shows in museums and galleries. I knew personally Louise Bourgeois, with whom I had conversations on creation and sexuality, and I had many in depth philosophical dialogues with the philosopher Julia Kristeva with whom I have published our conversation: “A Conversation between Julia Kristeva and Ariane Lopez-Huici” Ile de Re, France, September 1990, published by Ac Projectroom.

However, it is primarily through my photographic artwork that I have tried to liberate the woman’s body from the dogmatism of fashion and commerce, which can lead to disconcerting illnesses. The world is about more than mercantile aims and the female body is not merchandise. My photographs address the subject of excess or mutilation of the body, but nevertheless, affirm a dignity, seduction, and joie de vivre.



I was surprised by her exceptional and beautiful Fellini-esque qualities and this is why I asked her to pose.


I was surprised by her exceptional and beautiful Fellini-esque qualities and this is why I asked her to pose.


Anne was the director of a blog, which caters to women in excess, called “Allegro Fortissimo” and she contacted me to use some of my photos for her blog—because of her majestic body I asked her to pose for me.

Les Rebelles

After portraying them individually, I proposed for them to pose together in the spirit of “The Bathers” of Cezanne or Odalisques. They enthusiastically agreed and now wish to have these photos in museums as a revenge against the reprehensible gaze of their families and society.


In meeting me and getting to know my work, she was inspired to be photographed to assert that her fragmented body was still a sexy body, and could be as desirable as a Greek statue.


In contrast to Priscille with a prosthetic, giving her body a more unified whole, this is Priscille in her natural state. She is unafraid of the fragments she may not have, and still has an inviting body.


Dalila is a singer, dancer, and an exceptional improvisational spirit. Her body is rooted in the tradition of an ancient civilization but her spirit and mind are of the force of the 21rst century. She invents her own karma without fear.


Dalila expresses herself not only with her voice, but with her whole body. We can hear her through the movements she creates with her body. She performs for us with her internal force.



17 White Street #4A
New York, NY 10011



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