Fiona banner performance nude /anglais - Hardcover

A book showing the unique working style of British artist Fiona Banner, a Turner Prize nominee, who uses a nude model and then rather than painting the image, describes it in words painted on a large canvas.

Fiona Banner (b. 1966) is a British artist who was shortlisted for the Turner Prize in 2002, and is seen as one of the Young British Artists (YBAs). She was born in Merseyside and now lives in London. She completed her MA at Goldsmiths College in 1993. The next year she held her first solo show at City Racing. Following her shows at the Neuer Aachener Kunstverein, Aachen, and Dundee Contemporary Arts, she was nominated for the Turner Prize. More recent shows include The Bastard Word, at The Power Plant, Toronto, and Live/Work, at MOMA, New York.

Fiona Banner's medium is words. The possibilities and limitations of language as a tool of communication lie at the heart of her practice. Building huge pictorial texts, she takes language apart, stripping it bare in order to make and unmake meaning.

 Much of her work is influenced by feature films; these works include Point Break (1991), The Desert (1994) and particularly The Nam (1997), a 1,000-page book which describes the plots of six Vietnam films in their entirety: Apocalypse Now, Born On The Fourth of July, The Deer Hunter, Full Metal Jacket, Hamburger Hill and Platoon.

The wall of her show in the Turner Prize at Tate Britain was dominated by a large text piece, Arsewoman in Wonderland. This caused a certain commotion in the media, as it was a vivid description of a pornographic film. The Guardian wittily reversed the widespread question and asked, "It's art. But is it porn?" calling in "Britain's biggest porn star", Ben Dover, to comment.[1]

In 1997 Banner formed The Vanity Press, through which she publishes her own works, such as "the Nam", "The Bastard Word" and "All The World's Fighter Planes".