Orshi Drozdik

Last updated
Orshi Drozdik
Orshi Drozdik Brains on High Heels, 1993 installation, photo 2006.jpg
Orshi Drozdik with the installation Brains on High Heels, 1993. Photo, 2006
Born
Orsolya Drozdik

(1946-02-15) February 15, 1946 (age 77)
Alma mater Hungarian University of Fine Arts
Known for Conceptual Art, Feminist Art, Contemporary Art, Contemporary Feminist Art, Feminist Art from the 70s, Feminist Conceptual Artists
StyleFeminist art [1]
Website orshidrozdik.com orshi.hu

Orshi Drozdik (born 1946 in Hungary) is a feminist visual artist based in New York City. Her work consists of drawings, paintings, photographs, etchings, performances, videos, sculptures, installations, academic writings and fiction, that explore connected themes, sometimes over an extended period. Through her work, organized into several topics, she explores themes that undermine the traditional and erotic representation of women: Individual Mythologies,Adventure in Tecnos Dystopium, and Manufacturing the Self. [2] :12 She is influenced by Valéria Dienes, János Zsilka, Susan Sontag, Ludwig Wittgenstein, Luce Irigaray, Walter Benjamin, and Michel Foucault, among others. [3] :54 [lower-alpha 1] Her working method: critical analysis of meaning, influenced her contemporaries, her students and later generations of women artists. [4] The art historian László Beke noted in an interview realized by Kata Krasznahorkai in 2017 that "Orsolya Drozdik (Orshi Drozdik) is the first feminist artist in Hungary". [5]

Contents

Biography

Early life

Drozdik grew up in Abda and Győr in Hungary. Her mother with her family were living in Pozsony (today Bratislava) until the end of second WW, in 1945 they were stripped of their property and citizenship by the Beneš decrees without compensation and forced to relocate. The government labeled her father, as most middle class intellectuals, class enemy and his property was confiscated. In 1956, after her father's death, she decided to be an artist. With the support of her mother (who alone raised Orshi, a sister Ildikó and a brother Béla), she started to learn formal drawing and painting in an evening drawing study group. Drozdik studied art at the Hungarian University of Fine Arts (1970-1977), in Budapest. [1] She holds an MFA 1977 and PhD in Liberal Arts 2003.

1970–79

Starting in the 1970s and disregarding the patriarchal representation of the female body, she focused on the female point of view; she performed and made art in Budapest at the same time as Marina Abramović in Belgrade. [2] She searched for meaning and significance in her personal experiences; combining the textual with the visual.

From 1975, she created a critical, feminist methodology to investigate patriarchal representation. [1] As a student of the Hungarian Academy of Fine Arts, and under her birth name, Drozdik Orsolya, she researched and examined 19th and early 20th century academic documents of the female nude-model settings in the archive of the academy's library. [2] She photographed and "appropriated" these photo-images for her concept ImageBank; [lower-alpha 2] a semiotic study of patriarchal art history, academic training, -education; an image analysis of appropriated images; projected, manipulated and unmanipulated; these were exhibited: NudeModel (1976-1977), and Individual Mythology (1975-1977). [2] :28,32,157–160 The title Individual Mythology is a reference to Harald Szeemann's "Individual Mythologies" [6] [ circular reference ] section at the documenta 5, Kassel, 1972 and Joseph Beuys. [2] :10 [7] :30

Using her own body, she created feminist performance art, [2] photos, drawings, and installations in order to investigate patriarchal representation. Her methodology, her "feminist conceptual art" [8] continued, in Pornography (1978–79), a critical analysis of pornographic representation, and In Someones Shadows (1979), Diverting Diagonal (1979–80), Double (1980), and in I Try to be transparent (to art history) (1980). Later, she amended her methods as critical representations [8] deconstruction of meaning and theories of representation to encompass various fields, mediums and concepts. [9] At the same time, she performed and exhibited photographs offset prints and drawings, address the complexities of political and personal. Exploring the relationship between the visual and the linguistic, thus connecting her concepts as in the Renaissance of the Biblical text, for instance, to images.

In the mid-seventies, rebelling against the educational and political systems, she found her voice. [8] From 1975, she exhibited in Budapest and internationally in socialist countries, and worked in association with "Rozsa" (Roses), a young artists' post-conceptual group (1976–78). In 1978, she married Andreas De Jong, left Hungary, lived in Amsterdam, 1979, divorced and moved to Vancouver, Toronto; then in 1980 to New York City. She lived in Vancouver, Toronto and New York City between 1979 and 1991 with the novelist Patrick McGrath. [10]

1980-1999

In the early 1980s, Drozdik worked in association with the artist group Colab. From 1984, she started to work on her decades long project Adventure in Technos Dystopium; deconstructing 18th and 19th century scientific representation of truth and reality. She photographed the displays in European and American science museums, resulting in the series of photographs titled Dystopium Infinete. Adventure in Technos Dystopium derived Popular Natural Philosophy, (1988), Morbid Condition, (1989), Fragmenta Naturae, (1990), and Cynical Reason (1990-91) referencing the Age of Reason. She exhibited at the Tom Cugliani Gallery (1988-1893), [9] the Richard Anderson Gallery (1990–95), and the New Museum, [lower-alpha 3] [11] 1989, 1991,Age and at the 9th Biennale of Sydney in 1992. [12]

In late 90s she exhibited in Hungarian and Central European institutions including the Ernst Museum in Budapest, the Adventure in Technos Dystopium (1990), 3 by 3 from Hungary (1996) at the Center for Curatorial Studies, New York. [13] and The New Arrivals: 8 Contemporary Artists from Hungary, (2011) and at the Palais des Beaux-Arts, Brussels., [3] [14] among others. Her photographic installations of the late 1980s and 1900s are a production of a new Body Space, a project that reflects the video installation of Tony Oursler. In 1983 she produced through the legacy of Andreas Vesalius the drawing series, Dissection of Artaud, Foucalt and Vesalius (1983–84), Drozdik's statement on the link between the dissectional probings of the body and her gender concerns. [3]

2000

In the years of 2000 Drozdik had major retrospective exhibitions showing different aspects of her work: Adventure and Appropriation 1975-2001 were exhibited at the Ludwig Museum in Budapest - Museum of Contemporary Art, [3] [15] Ludwig Museum and Museum of Contemporary Art, Budapest 2001–02, [16] Passion After Appropriation in Museum of Contemporary Art Muzej Suvremene Umjetnosti, Zagreb, and in The Art Pavilion in Zagreb, Croatia, 2002, Individual Mythology - Medical Venus - Young and Beautiful, Municipal Museum of Art, Győr, 2003, The Other Venus, MODEM 2011, [17] Contemporary Art Center. [18] Debrecen, Hungary. In 2006 Drozdik published a book titled Individuális Mitológia, konceptuálistól a postmodernig, (Individual Mythology From Conceptual to Postmodern Gondolat Publishing IBNS 9639567795) a summary of her thoughts, methodology and work process, focusing on her starting point the 1970s conceptual movements in Hungary. [1]

Work

Drozdik in her work exposes social issues that are embedded within a cultural system, [8] thus countering a range of representations in regards facts and scientific truths within the discourses of art, medical, and scientific history. [19]

Performance

Her works, Individual Mythology (1975–77) and Nude model (1977), comprising performance, photography, offset prints and drawings, were exhibited in Budapest. [2] In this series, she started to deconstruct the representations of female body based on her original concept named Image Bank, in Hungarian Képban elmélet (1975), in which she defined her methodology using existing representations to unfold and reinterpret meaning. Inspired by Valéria Dienes, the philosopher and dancer, she was able to link her female point of view to the early feminist movement, that was powerful in Hungary before WWII. A harbinger in the Eastern Bloc, Drozdik focused on the methodology of representation - using the early 20 century "Free Dancer" movements in Hungary as a starting point - to construct a discourse of feminist art. [1] The Pornography (1978) series was completed in Amsterdam, I Try To Be Transparent (1980), [20] performance and the Double (1980) in Toronto and Genius (1989) New Museum - Digital Archive in New Museum, New York [21]

Photography

Individual Mythology (1975–77), Nude model (1977), Cammon Symbols (1976–77), Blink and Sigh, (1977), Pornography (1978–79), Temporary Coherence (1979–80), Adventure in Technos Dystopium (1984-1996), Manufacturing the Self (1990-96)

Video

Individual Mythology, (1977-2014), Individual Mythology: Play It Again, Drozdik (2014), Double (1980), I try to be transparent (1980), Genius (1989), My Mother, Erzsébet Kockás's Strudel (1997), Young and Beautiful, Oshi Ohashi: Young and Beautiful, Confident Cosmetic Line (1997), It's All Over Now Baby Blue (2015), Stripes à la Sol LeWitt, (painting performance with musical accompaniment by Krisztina Megyeri 's composition, Hohes Ufer II (2014)

Installation

Adventure in Technos Dystopium [22] (1984–1993) deconstructed scientific representations of truth. [23] For this series Drozdik created a fictional 18th century female scientist, Edith Simpson. Some of the themes she explored were the romanticizing of disease and the taxonomic formalism of Carl Linnaeus.

From 1989 Drozdik used models of her father's brain as part of a sculptural installations. [3]

In 1988, 1989, and 1990, she exhibited at the Tom Cugliani Gallery. [24] [ failed verification ] [lower-alpha 4] Drozdik continued to produce and exhibit feminist work, and deconstructing the patriarchal, scientific gaze, including, in 1986, inventing the 18th Century pseudo-persona of Edith Simpson, [22] :5 [lower-alpha 5] (1983–88); a woman scientist complete with her own heritage. [8] [2] :72–75 Her installation series entitled Manufacturing the Self (1993–97) is a deconstruction of medical representations of the female body. [2] :114:156 Drozdik's 1993-04 exhibition Medical Erotic, part of the Manufacturing the Self series, [3] featured a cast of the Drozdik's body alongside photographs of a medical wax-work figure and a fictional journal. [25] [9] The installation Manufacturing The Self, Brains on High Heels (1992), a rubber cast of a brain inserted into a pair of high heels. [2] :110–111 Exhibited first in Sydney Biennial in 1992–93. [8]

Conceptual painting series

Art history and Me (1982) she created a new series of paintings titled Lipstick Paintings ala Fontana (2002–06) in which the surface of canvases are punctured with lipstick. The series of digital prints Venuses, Drapery and Bodyfolds (2000–2007) [26] [27] featured fragments of draperies and naked women from the history of art. A series of exhibitions titled All Over Now Baby Blue were exhibited from 2013 to 2015, Stripes Ala Sol Levitt in 2015. [1]

Book

Orshi Drozdik: Individuális Mitológia, konceptuálistól a postmodernig, (Individual Mythology From Conceptual to Postmodern), Gondolat Publishing, 2006, Budapest IBNS 9639567795,

Selected works

Awards and membership

See also

Notes

  1. Valéria Dienes (1879 – 1978) Hungarian feminist, philosopher and choreographer, János Zsilka (1930-1999) Hungarian linguist, semiotic studies, Susan Sontag (1933 – 2004) writer On Pornographic Imagination, Ludwig Wittgenstein, (1889 – 1951) Tractatus Logico-Philosophicus , Luce Irigaray, 1930 French linguist and feminist, This Sex Which is Not One Luce Irigaray#This Sex Which is Not One (Ce sexe qui n'en est pas un), Michel Foucault (1926 – 1984) The Order of Things, and Walter Benjamin, among others. [2]
  2. she did not use this terminology at that time only later, instead she invented the concept of "image bank."
  3. New Digital Archive Museum: "Strange Attractors: Signs of Chaos," "Strange Attractions: An Evening of Chaotic Performance," "The Interrupted Life," "Museum as Hub: Report on the Construction of a Spaceship Module"
  4. 1992 accompanied with a catalogue titled Science Fiction. MIT exhibition catalogue 1992.
  5. The Life of Edith Simpson, Epitome of the Enlightenment, National Genius of Art and Science. Orshi Drozdik, New York, 1986
  6. The Hierarchy of Organs text by Orshi Drozdik. Originally published in:Physical Relief. The Bertha and Karl Leubsdorf Art Gallery at Hunter College, 1991.
  7. First published in Orshi Drozdik, Adventure in Tecnos Dystopium (Ernst Museum, Budapest, 1900) exhibition catalogue.
  8. Gordon Matta-Clark Trust. 500.1992.1. © 2019 Estate of Gordon Matta-Clark

Related Research Articles

<span class="mw-page-title-main">Performance art</span> Artwork created through actions of an artist or other participants

Performance art is an artwork or art exhibition created through actions executed by the artist or other participants. It may be witnessed live or through documentation, spontaneously developed or written, and is traditionally presented to a public in a fine art context in an interdisciplinary mode. Also known as artistic action, it has been developed through the years as a genre of its own in which art is presented live. It had an important and fundamental role in 20th century avant-garde art.

<span class="mw-page-title-main">Shigeko Kubota</span> Japanese artist (1937–2015)

Shigeko Kubota was a Japanese video artist, sculptor and avant-garde performance artist, who mostly lived in New York City. She was one of the first artists to adopt the portable video camera Sony Portapak in 1970, likening it to a "new paintbrush." Kubota is known for constructing sculptural installations with a strong DIY aesthetic, which include sculptures with embedded monitors playing her original videos. She was a key member and influence on Fluxus, the international group of avant-garde artists centered on George Maciunas, having been involved with the group since witnessing John Cage perform in Tokyo in 1962 and subsequently moving to New York in 1964. She was closely associated with George Brecht, Jackson Mac Low, John Cage, Joe Jones, Nam June Paik, and Ay-O, among other members of Fluxus. Kubota was deemed "Vice Chairman" of the Fluxus Organization by Maciunas.

<span class="mw-page-title-main">Ilka Gedő</span> Hungarian artist (1921–1985)

Ilka Gedő was a Hungarian painter and graphic artist. Her work survives decades of persecution and repression, first by the semi-fascist regime of the 1930s and 1940s and then, after a brief interval of relative freedom between 1945 and 1949, by the communist regime of the 1950s to 1989. In the first stage of her career, which came to an end in 1949, she created a huge number of drawings that can be divided into various series. From 1964 on, she resumed her artistic activities creating oil paintings. "Ilka Gedő is one of the solitary masters of Hungarian art. She is bound to neither the avant-garde nor traditional trends. Her matchless creative method makes it impossible to compare her with other artists."

<span class="mw-page-title-main">Hannah Wilke</span> American artist

Hannah Wilke was an American painter, sculptor, photographer, video artist and performance artist. Wilke's work is known for exploring issues of feminism, sexuality and femininity.

<span class="mw-page-title-main">Hungarian University of Fine Arts</span> Art school in Budapest, Hungary

The Hungarian University of Fine Arts is the central Hungarian art school in Budapest, Andrássy Avenue. It was founded in 1871 as the Hungarian Royal Drawing School (Magyar Királyi Mintarajztanoda) and has been called University of Fine Arts since 2001.

<span class="mw-page-title-main">Péter Forgács</span>

Péter Forgács is a Hungarian media artist and independent filmmaker. He is best known for his "Private Hungary" series of award winning films based on home movies from the 1930s and 1960s, which document ordinary lives that were soon to be ruptured by an extraordinary historical trauma that occurs off screen.

<span class="mw-page-title-main">Feminist art</span> Art that reflects womens lives and experiences

Feminist art is a category of art associated with the late 1960s and 1970s feminist movement. Feminist art highlights the societal and political differences women experience in their lives. The hopeful gain from this form of art is to bring a positive and understanding change to the world, in hope to lead to equality or liberation. Media used range from traditional art forms such as painting to more unorthodox methods such as performance art, conceptual art, body art, craftivism, video, film, and fiber art. Feminist art has served as an innovative driving force towards expanding the definition of art through the incorporation of new media and a new perspective.

Sandra Binion is a Swedish-American artist based in Chicago whose artistic practice includes fine-art exhibitions, multimedia installations involving, and performance art. Her work has been performed and exhibited at museums, galleries, theaters, and festivals in the US, Europe, and Japan. Some of the venues that have featured her work include the Evanston Art Center, Link's Hall, Kunstraum (Stuttgart), The Goodman Theatre, and Los Angeles Institute of Contemporary Art.

Deborah Kass is an American artist whose work explores the intersection of pop culture, art history, and the construction of self. Deborah Kass works in mixed media, and is most recognized for her paintings, prints, photography, sculptures and neon lighting installations. Kass's early work mimics and reworks signature styles of iconic male artists of the 20th century including Frank Stella, Andy Warhol, Jackson Pollock, and Ed Ruscha. Kass's technique of appropriation is a critical commentary on the intersection of social power relations, identity politics, and the historically dominant position of male artists in the art world.

Colette Justine, better known as Colette Lumiere, is a Tunisian-American multimedia artist. She has been well known since the seventies for her pioneering work in performance art, street art, and photographic tableau vivant. She is also known for her work exploring male and female gender roles, use of guises and personas, and for soft fabric environments, where she often appears as the central element.

Endre Tot born in Sümeg, Hungary, 1937 is a Hungarian artist who lives and works in Cologne, Germany.

<span class="mw-page-title-main">Katalin Ladik</span> Hungarian poet, artist, actress (born 1942)

Katalin Ladik is a Hungarian poet, performance artist and actress. She was born in Újvidék, Kingdom of Hungary, and in the last 20 years she has lived and worked alternately in Novi Sad, in Budapest, Hungary and on the island of Hvar, Croatia. Parallel to her written poems she also creates sound poems and visual poems, performance art, writes and performs experimental music and audio plays. She is also a performer and an experimental artist. She explores language through visual and vocal expressions, as well as movement and gestures. Her work includes collages, photography, records, performances and happenings in both urban and natural environments.

Mary Beth Edelson was an American artist and pioneer of the feminist art movement, deemed one of the notable "first-generation feminist artists". Edelson was a printmaker, book artist, collage artist, painter, photographer, performance artist, and author. Her works have been shown at the Museum of Modern Art, the Smithsonian American Art Museum, and the Museum of Contemporary Art in Chicago.

Sutapa Biswas is a British Indian conceptual artist, who works across a range of media including painting, drawing, film and time-based media.

Eva Moll is a German contemporary artist. Moll works in the media fine art printmaking, drawing and painting and its expansion in the areas of performance art and conceptual art. Beside works on canvas and paper; Happening, video art and installation count to her Œuvre. A large part of her work stands in the traditions of appropriation art, pop art, fluxus and action painting. She lives and works in New York and Berlin.

<span class="mw-page-title-main">Bogna Burska</span> Polish playwright and artist

Bogna Burska is a Polish playwright and visual artist known for installations, spatial photography and video. Her art is presented from a feminist perspective. Her initial painting compositions were narratives of congealed blood forms made with red paints applied by fingers on the walls, canvas and glass.

Sharon Wybrants is an American painter, performance artist, and educator.

Marilena Preda Sânc is a Romanian visual artist, art educator (current position – professor at National University of Arts, Bucharest, and author of feminism and Public Art writings. She is known for being one of the most active feminist artists in the country. She uses a multidisciplinary approach by employing various media such as drawing, painting, mural art, book-objects, video, performance, photography, and installation, and her work has been shown in museums, galleries, conferences, symposium, and broadcast venues around the world.

János Vető is a Hungarian visual artist, photographer, video artist, musician, songwriter, singer and composer. He has been involved with non-conformist photo art, visual art and alternative music culture since the late '60s.

<span class="mw-page-title-main">László Lakner</span>

László Lakner is a Hungarian-German painter, sculptor and conceptual artist. He lives and works in Berlin. László Lakner was born in Budapest in 1936 to an architect of the same name and his wife Sara, born a Sárközy. Lakner is the father of the Hungarian artist Antal Lakner, who was born in 1966. After a long period in the cities Essen and Berlin, László Lakner now lives and works exclusively in Berlin, in the Charlottenburg district. Among other art shows, he was invited three times to participate in the Venice Biennale and once to documenta in Kassel (1977).

References

  1. 1 2 3 4 5 6 http://www.artslant.com/global/artists/show/47318-orshi-drozdik Archived 2015-09-23 at the Wayback Machine Artist Statement
  2. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 John C. Welchman, Orshi Drozdik Adventures & Appropriation 1975-2001, Ludwig Museum Budapest, 2001.
  3. 1 2 3 4 5 6 7 John C. Welchman, Art After Appropriation: Essays on Art in the 1990s, Routledge, 2001, p112. ISBN   978-90-5701-043-9
  4. Széplaky, Gerda. Individual mythologies– Post-feminism in contemporary Hungarian art Current issue of Hungarian Contemporary Art, NO. 1 2019. Budapest, Hungary. pp 50- 64
  5. apparatusjournal.net/index.php/apparatus/article/view/198/485)
  6. Harald Szeemann
  7. Drosdik, OrshiOrshi Drozdik Adventures & Appropriation 1975-2001, Ludwig Museum Budapest, 2001.
  8. 1 2 3 4 5 6 Michèle Kieffer Orshi Drozdik: Deconstructing Gender and the Self, theCulturetrip.com. Retrieved 23 August 2014.
  9. 1 2 3 Holland Cotter, Art in Review, The New York Times, June 11, 1993.
  10. Herbert Mitgang, Weird Tales From an Offbeat Childhood, June 11, 1988
  11. "Orshi Drozdik". Archived from the original on 2019-12-19. Retrieved 2019-12-19.
  12. "9th Biennale of Sydney 1992" . Retrieved 2019-12-18.
  13. Vivien Raynor International Show Celebrates Diversity, New York Times September 15, 1996
  14. Richard Unwin, The New Arrivals: 8 Contemporary Artists from Hungary Archived 2014-08-26 at the Wayback Machine , Frieze, April 2011
  15. "Orshi Drozdik Retrospective Exhibition". November 2017. Retrieved 2019-05-12.
  16. "Az ész, a test és a lélek anatómiája, Drozdik Orshi kiállításához kapcsolódó szimpózium". November 2017. Retrieved 2019-05-12.
  17. "Modemart - MODEM Modern and Contemporary Arts Centre Modem - Modern és Kortárs Művészeti Központ".
  18. "Modemart - MODEM Modern and Contemporary Arts Centre Modem - Modern és Kortárs Művészeti Központ".
  19. Orshi Drozdik : le corps pathologique: [exposition], la Salle blanche, Musée des beaux-arts de Nantes, [18 mars-21 mai 1995]. OCLC   464244137.
  20. 1 2 "I try To Be Transparent (to art history by Orshi Drozdik". 1979. Retrieved 2019-12-17.
  21. http://ca.newmuseum.org/index.php/Detail/Entity/Show/entity_id/523 Archived 2019-12-19 at the Wayback Machine .
  22. 1 2 3 Neray, Katalin, Orshi Drozdik Adventures & Appropriation 1975-2001, Ludwig Museum Budapest, 2001.
  23. Katy Kline and Helaine Posner [ permanent dead link ]Science Fictions M.I.T. LIST VISUAL ARTS CENTER (Cambridge, MA)1992, ISBN   093-84-37410
  24. Helaine Posner; Katy Kline; Jon Tower (1992). "Jon Tower/Orshi Drozdik: Science Fiction". S2CID   193070607.{{cite web}}: Missing or empty |url= (help)
  25. Reagan Upshaw, Orshi Drozdik at Tom Cugliani - installation art - New York, New York - Review Of Exhibitions Archived 2014-08-26 at the Wayback Machine , Art in America, Jan 1994.
  26. 1 2 "Exhibition - The exhibition of Drozdik Orsolya - Venuses: Draperies and Bends of the Body - Museum.hu". www.museum.hu.
  27. Orshi Drozdik Retrospective Exhibition Ludwig Museum Budapest 2001/02 VIDEO https://archive.org/details/XFR_2013-08-02_1A_02
  28. Korner, Eva Biological Metamorphoses; Orshi Drozdik Adventures & Appropriation 1975-2001, Ludwig Museum Budapest, 2001.
  29. "The Other Venus". Archived from the original on 2014-08-27. Retrieved 2019-12-26.
  30. "Gandy Gallery: It's All Over Now Baby Blue". Archived from the original on 2014-08-27. Retrieved 2019-12-26.
  31. "Wende Museum". www.wendemuseum.org. Archived from the original on 2020-03-01. Retrieved 2020-03-01.
  32. "The Prins Bernhard Cultuurfonds - Prins Bernhard Cultuurfonds". Archived from the original on 2014-07-19. Retrieved 2014-08-25.
  33. "Fondation Cartier pour l'art contemporain". 10 June 2023.
  34. "From free dance to performance. Orsolya Drozdik chair lecture" . Retrieved 2019-12-17.
  35. "Széchenyi Academy of Letters and Arts Preliminary to the Széchenyi Academy of Letters and Arts THE HUNGARIAN ACADEMY OF SCIENCES AND THE ARTS (1825-1998)". Archived from the original on 2015-04-24. Retrieved 2019-12-17.

Further reading

Source: Drozdik, Orshi; Korner Eva; Neray, Katalin; Welchman, C. John. Editor, Hegyi, Dora. Orshi Drozdik Adventures & Appropriation 1975-2001, Ludwig Museum Budapest, 2001. Mester Nyomda Press, Budapest. ISBN   963-00-9380-4.