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 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
The Flesh Eaters (detail)
The Flesh Eaters (detail)
The Flesh Eaters (detail)
 
The Flesh Eaters (detail)
The Flesh Eaters (detail)
The Flesh Eaters (detail)
 
The Flesh Eaters (detail)
The Flesh Eaters (detail)
The Flesh Eaters (detail)
 
The Flesh Eaters (detail)
The Flesh Eaters (detail)
The Flesh Eaters (detail)
 
The Flesh Eaters (detail)
The Flesh Eaters (detail)
The Flesh Eaters (detail)
 
The Flesh Eaters (detail)
The Flesh Eaters (detail)
The Flesh Eaters (detail)
 
The Flesh Eaters (detail)
The Flesh Eaters (detail)
The Flesh Eaters (detail)
 
The Flesh Eaters (detail)
The Flesh Eaters (detail)
The Flesh Eaters (detail)
 
The Flesh Eaters (detail)
The Flesh Eaters (detail)
The Flesh Eaters (detail)
 
The Flesh Eaters (detail)
The Flesh Eaters (detail)
The Flesh Eaters (detail)
 
The Flesh Eaters (detail)
The Flesh Eaters (detail)
 

2011 THE FLESH EATERS

Each drawing approximately 15cm x 16cm in dip pen and black ink on
42cm x 29.7cm, 300gsm cold-pressed paper.



“I don’t think anyone really bothers to reconcile the disparities between
our online and offline personae.”


– Hazel Dooney

I’m no art critic but common sense tells me that when a young artist is
banned in their home country, their art is probably pretty damn good.
At the very least, someone with a mistaken sense of power fears it. As
my granny, a refugee from Hitler’s Germany, used to say, “Banned art
is the best art.”

Hazel Dooney’s obsessive narrative comes replete with all the big,
brawny, Barthes-ian social, political and sexual schemes currently
streaming and steaming the zeitgeist: she talks the talk and walks the
walk.  She’s hot and hot-headed, the ultimate babe-warrior in the art of
war – or is it the war of art?  She is a hypnotist-collector; you are a
walking antique...

Hazel Dooney: Stoking the Fires of Necessity
, Amos Poe. New York, 2012


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