Hannah Wilke
American artist



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Hannah Wilke
American artist
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A Jewish woman grappling with sexism, much of Wilke's work was about gender.  She made terra cotta vulvas and little vagina-shaped warts of bubble gum that she stuck to her body. 

She was a beautiful woman by conventional standards, and was often criticized for using her own naked body in her art. However, she always maintained that her work was feminist because she was in control of the image. Those critics were probably just jealous of how hot she was.

As she deteriorated from lymphoma in her early 50s, she continued to photograph herself nude, now bald and sickly from the disease, chemotherapy and bone marrow transplants.  This shut up the  naysayers who had previously criticized her. She died from the disease in 1993.

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Here is what Wikipedia says about Hannah Wilke

Hannah Wilke (born Arlene Hannah Butter; March 7, 1940 – January 28, 1993) was an American painter, sculptor, photographer, video artist and performance artist. Wilke's work is known for exploring issues of feminism, sexuality and femininity.


Hannah Wilke was born on March 7, 1940 in New York City to Jewish parents; her grandparents were Eastern European immigrants. In 1962, she received a Bachelor of Fine Art and a Bachelor of Science in Education from the Tyler School of Art, Temple University, Philadelphia. She taught art in several high schools and joined the faculty of the School of Visual Arts, New York, where she taught sculpture and ceramics from 1974–1991. From 1969 to 1977, Wilke was in a relationship with the American Pop artist, Claes Oldenburg, and they lived, worked and traveled together during that time. Wilke's work was exhibited nationally and internationally throughout her life and continues to be shown posthumously. Solo exhibitions of her work were first mounted in New York and Los Angeles in 1972. Her first full museum exhibition was held at the University of California, Irvine, in 1976, and her first retrospective at the University of Missouri in 1989. In Chris Kraus' novel "I Love Dick", Kraus chronicles the details of Oldenburg threatening legal action towards the University of Missouri Press, Oldenburg requesting photos of him, or any mention of him to be removed for the exhibition catalog. Posthumous retrospectives were shown in Copenhagen, Helsinki, and Malmo, Sweden in 2000 and at the Neuberger Museum of Art from 2008 to 2009. Since her death, Wilke's work has been shown in solo gallery shows, group exhibitions, and several surveys of women's art, including WACK! Art and the Feminist Revolution at the Museum of Contemporary Art Los Angeles, Elles at the Centre Georges Pompidou, and Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016 at Hauser & Wirth Los Angeles.

The Hannah Wilke Collection and Archive, Los Angeles was founded in 1999 by Hannah Wilke's sister Marsie Scharlatt and her family, and has been represented by Alison Jacques Gallery, London since 2009.

Early work

Wilke first gained renown with her "vulval" terra-cotta sculptures in the 1960s. Her sculptures, first exhibited in New York in the late 1960s, are often mentioned as some of the first explicit vaginal imagery arising from the women's liberation movement, and they became her signature form which she made in various media, colors and sizes, including large floor installations, throughout her life. Some of her mediums included clay, chewing gum, kneaded erasers, laundry lint and latex. The use of unconventional materials is typical of feminist art, nodding to women's historical lack of access to traditional art supplies and education. Wilke's sculptures were an innovative example of eroticism using a style that combined post-minimalism and feminist aesthetics. A consummate draftswoman, Wilke created numerous drawings, beginning in the early 1960s and continuing throughout her life. In a review of Wilke's drawings at Ronald Feldman Fine Arts in 2010, Thomas Micchelli wrote in The Brooklyn Rail: "at her core, she was a maker of things ... an artist whose sensuality and humor are matched by her formal acumen and tactile rigor." She performed live and videotaped performance art, beginning in 1974 with Hannah Wilke Super-t-Art, a live performance at the Kitchen, New York, which she also made into an iconic photographic work. Wilke's performances evoke the likes of Simone Forti, Trisha Brown, and Yvonne Rainer. The sculptural art Wilke created, with its unconventional materials and feminist narratives also relates to the work of Louise Bourgeois, Eva Hesse, Alina Szapocznikow, and Niki de St Phalle.

Body art

In 1974, Wilke began work on her photographic body art piece S.O.S — Starification Object Series, in which she merged her minimalist sculpture and her own body by creating tiny vulval sculptures out of chewing gum and sticking them to herself. She then had herself photographed in various pin-up poses, providing a juxtaposition of glamour and something resembling tribal scarification. Wilke has related the scarring on her body to an awareness of the Holocaust. These poses exaggerate and satirize American cultural values of feminine beauty and fashion and also hint at an interest in ceremonial scarification. The 50 self-portraits were originally created as a game, "S.O.S.Starificaion Object Series: An Adult Game of Mastication", 1974–75, which Wilke made into an installation that is now in the Centre Pompidou, Paris. She also performed this piece publicly in Paris in 1975, having audience members chew the gum for her before she sculpted them and placed them on papers that she hung on the wall. Wilke also used colored chewing gum as a medium for individual sculptures, using multiple pieces of gum to create a complex layering representing the vulva.

Wilke coined the term "performalist self-portraits" to credit photographers who assisted her, including her father (First Performalist Self-Portrait, 1942–77) and her sister, Marsie (Butter) Scharlatt (Arlene Hannah Butter and Cover of Appearances, 1954–77). The title of Wilke's photographic and performance work, So Help Me Hannah, 1979, was taken from a vernacular phrase from the 1930s and '40s and has been interpreted as playing off of the Jewish mother stereotype and referencing Wilke's relationship with her mother.

Besides Hannah Wilke Super-t-Art, 1974, other well-known performances in which Wilke used her body include Gestures, 1974; Hello Boys, 1975; Intercourse with ... (audio installation) 1974–1976; Intercourse with ... (video) 1976; and Hannah Wilke Through the Large Glass performed at the Philadelphia Museum of Art in 1977.

Death and Intra-Venus

Hannah Wilke died in Houston, Texas, in 1993 from lymphoma. Her last work, Intra-Venus (1992–1993), is a posthumously published photographic record of her physical transformation and deterioration resulting from chemotherapy and bone marrow transplant. The photographs, which were taken by her husband Donald Goddard whom she had lived with since 1982 and married in 1992 shortly before her death, confront the viewer with personal images of Wilke progressing from midlife happiness to bald, damaged, and resigned.Intra-Venus mirrors her photo diptych Portrait of the Artist with Her Mother, Selma Butter, 1978–82, which portrayed her mother's struggles with cancer and "having literally incorporated her mother, illness and all."Intra-Venus was exhibited and published posthumously partially in response to Wilke's feelings that clinical procedures hide patients as if dying was a "personal shame".

The Intra Venus works also include watercolor Face and Hand drawings, Brushstrokes, a series of drawings made from her own hair and the Intra Venus Tapes, a 16-channel videotape installation.

Check out the full Wikipedia article about Hannah Wilke.