Deborah Klein’s visual language is distinct. Through it, she explores feminism and women’s histories, shining light on those absent from history in often unexpected ways. In Pirate Jenny at Luna Park, Klein reimagines the somewhat unlikable character Jenny from Bertolt Brecht’s critique of capitalism, ‘The Threepenny Opera’. Rather than London’s underbelly, however, this Jenny roams Melbourne’s suburb of St Kilda, where Klein grew up.

There is something devilishly tongue in cheek about Pirate Jenny and the Whores of Babylon. In it, Klein presents three coquettish women – two of whom represent the Whores of Babylon, a female presence in the Book of Revelation that symbolises the threat of seduction. The artist appears to be critiquing the cultural distrust of female sexuality. For Klein, the Jenny Pirate series represents a cornerstone in her practice. Under the guidance of Euan Heng, this works encouraged a variety of narratives: personal, literary, socio-political and feminist.

Represented in public collections at National Gallery of Australia and National Gallery of Victoria, Klein has won the Grand Prize, Silk Cut Award for Linocut Printmaking. In 2008 the survey show ‘Deborah Klein: Out of the Past 1995 - 2007’ toured to Castlemaine Art Gallery and Historical Museum, the Art Gallery of Ballarat, Warrnambool Art Gallery and Deakin University Art Gallery, Victoria.

The first major step in a fruitful career, Pirate Jenny and the Whores of Babylon announced Klein as an enthralling new voice. A folio of series is represented at the National Library of Australia, Canberra. For collectors of prints, and contemporary and feminist art, this work is thrilling find.

Deborah KLEIN (1951 - )
'Pirate Jenny and the Whores of Babylon' 1988
linocut on paper
Image Size: 46 x 62 cm
Dimensions: 53 x 74 cm
Signed: Editioned, titled, signed 'Deborah Klein' and dated in lower margin.
Comes with Letter of Provenance
Printed on Nishi Nouchi paper.

Condition is Very Good: Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.

(C) The Artist or Assignee