â€œBlonde Beautyâ€ is the final work in â€œThe Uncovered Works of Hanna Bermanâ€ series. The subject matter of this portrait, consistent with the rest of the series, implicates us with regard to our contemporary fictions of women, and holds deliberate reference to past feminist art. In â€œBlonde Beautyâ€ this quotation is conflated with that of another artistic precedent exemplified by Andy Warholâ€™s â€œEmpireâ€, which fractures the implied film narrative. My typified equestrian image is rendered as a moving â€˜stillâ€™, as opposed to a photograph, and is projected into an actual white, molded frame, recalling conventional portraiture. This recollection is then employed to deny the narrative assumed within a figurative, time-based work. Movements are turned into purposeless abstractions, visual cords. â€œBlonde Beautyâ€ acts as a foil to its photographic cousins contained in this series which seem, alternately, to be ambiguous, dramatic swaths cut from a presumed tale. The silence of this work coupled with its minimal motion and looped action turn slight movements into drawn lines, discarding the timeline for visual mimicry of melody. And we are left with a sardonically poetic portrait; the girls love horses clichÃ© winks at the pop cultural entanglement of pervasive female innocence and erotic charge.
H. Bennett 2006 c.