Hazel Dooney
> 2013 TEN DICTA FOR YOUNG WOMEN WHO ARE ARTISTS
> 2012 KILL/JOY
> 2012 VENUS IN HELL REDUX
> 2011 THE FLESH EATERS
> 2011-2012 PORTRAITS
> 2010-2013 BIG PIN-UPS
> 2010 AMANDA PALMER ALBUM
> 2009 THE IF... STENCILS
> 2009 YES/NO STENCILS
> 2009 PRECIOUS BLOOD
> 2008-2012 DANGEROUS CAREER BABES
> 2008 COWBOY BABES
> 2007-2008 KELLY AND LIN
> 2006 VENUS IN HELL
> 2006 OTHER WORKS ON PAPER
> 2006 GRIFFITH REVIEW COVER
> 2005 STYLE SESSIONS NYC
> 2004 SELF VS SELF
> 2004 NATIONAL WORKS ON PAPER
> 2001-2005 LAKE EYRE
> 2001 STRATEGIES FOR SURVIVAL
> 2001 TOO MUCH NEVER ENOUGH
> 2001 SLIGHTLY INDECENT
> 2001 READY SET GO!
> 2000-2012 SPORTS CAREER BABES
> 2000-2013 CAREER BABES
> 2000 FILM STILLS
> 2000 POLA AUTO-EROTICA
> 1999 ACCOUTREMENTS OF DESIRE
> 1999 OTHER WORKS
> 1998 ULTRA VIOLET ONE
> 1998 FASHION TARGETS BREAST CANCER
> 1998 OTHER WORKS
> 1997 STREET ART
> 1997 HAZED (FIRST EXHIBITION)
> 1996 EARLY PAINTING
> 1995 HOMOGENEOUS BABES
Doop Dee Doo (detail)
Lick Sip Suck (detail)
Sex Drugs Whatever (detail)
 
21C Feminism: toward a better future? (detail)
Flush (detail)
21C Feminism: Toward A Better Future? V.2 (detail)
 
Pow (detail)
Buck (detail)
Bang Bang (detail)
 
I Love Cheesecake (detail)
 

2001 SLIGHTLY INDECENT

Hazel Dooney's work carries the subversive and slick trademarks of
contemporary consumer culture. Like Warhol and Lichtenstein, Dooney
understands that, in contemporary society, the media can communicate
more effectively to a greater number of people than an art object can.

The comic book reality of her amazonian überbabes is instantly
recogniseable. Dooney's girls invite the viewer to aspire to their perfect
dimensions, and prominent charms.

Like the girls in a James Bond movie, their sexuality is a worthy
weapon, but strangely impotent when push comes to shove. Like the
best advertisement, they make you an offer you can't refuse, but
satisfaction is never guaranteed. Like most offers of this nature, they
are simply too good to be true.

Dooney's candy coloured palette is straight from the swatches of a
Seidler pad – smooth, hip and modern as tomorrow. They are
egalitarian colours for the everyman. Easy on the eye and hard to
resist.

Unlike Warhol, who sometimes used a loose brush and deliberate
paint drips to parody expressive painters, there are no tell tale
brush strokes in Dooney's work that might betray a flawed human
touch. She works in high gloss enamel paint allowing for a flaw
free surface that appears to be still wet and forever new.

Dooney's work exploits the values of consumer culture and the
myths of post feminist girl power and in doing so exposes them.

Like the culture they parody, they are superficial, but glamorously,
sinfully irresistible.


– Jenny Hanson Read, February 2001

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