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Body as Object/Body as Persona
- 1. For me, sculpture is the body. My body is my sculpture. Louise Bourgeois
- 15. Charles Ray- Family Romance
Editor's Notes
- Rrose Sélavy , or Rose Sélavy , was one of the pseudonyms of artist Marcel Duchamp . The name, a pun , sounds like the French phrase " Eros , c'est la vie", which translates to English as "eros, that's life". It has also been read as "arroser la vie" ("to make a toast to life"). Sélavy emerged in 1921 in a series of photographs by Man Ray of Duchamp dressed as a woman . 02. "Captivating a Man" A reversal of the means by which a woman captivates a man: The man is made attractive by the woman. In heterosexual reversal, the power of makeup turns back on itself; captivation is emasculation. September, 1972. Photo of Richards Jarden by Martha Wilson
- Jun 1972 - In June 1972, the concept album "The Rise and Fall of Ziggy Stardust and the Spiders from Mars", presents the story of a world destined to end in five years and the ultimate rock star, 'Ziggy Stardust'. 1973 - On 3 July 1973, Ziggy Stardust dumped me. Bowie retired his alter ego after only a year or so on this planet. Surrounded by boys with lightning bolts painted on sallow faces and pimply girls in baby-blue mascara, I stood devastated as Bowie told the crowd at
- Elizabethan Costumes The Elizabethan Era was a period in English history dominated by the Class structure. People who lived in the Elizabethan era were not allowed to wear whatever they liked! It did not matter how wealthy they were - the fabric, and even the of their clothes were dictated by their rank, status or position and these strict rules were enforced by English Law! These laws about clothing in the Elizabethan era were called Sumptuary Laws. They were designed to limit the expenditure of people on clothes - and of course to maintain the social structure of the Elizabethan Class system! So it was illegal to wear various items of clothing - disastrous for clothing actors in appropriate costumes! The English Sumptuary Laws were strictly obeyed! The penalties for violating Sumptuary Laws could be harsh - fines, the loss of property, title and even life! Elizabethan men only wore clothes that they were allowed to wear - by Law! But like the Laws of today there was a 'get out' clause! The nobility wanted to maintain the elite class system but they also wanted to enjoy the new form of entertainment that the Theatre had to offer!
- Mining the museum The fundamental core of Fred Wilson's art is the idea that historical accuracy and representation are not all they are cracked up to be. There's more than one way to organize a show he tells us. And in that telling, Wilson's art explores not only how strongly museums impact and shape our cultural view but more importantly how we consider and understand ourselves.
- The Nimba mask, one of the most massive used in Sub-Saharan Africa, symbolizes the power of life-giving fertility. It portrays the Baga vision of woman in her most powerful, beautiful, and socially impressive form. Her flat pendant breasts show that she has nurtured many children. Intricately braided hair in parallel rows, with a high crest down the center, and decorative facial scarification embellish her beauty. Nimba appears annually at the time of planting and harvesting rice. Strong men compete for the honor of wearing the heavy wooden headdress; the rest of the body is covered in raffia. Moving vigorously to the accompaniment of drums, the dancer shows his strength and grace, while women sing and throw rice. According to one elder, "Nimba is strength, the joy of living, the love of the beautiful and the attachment to our customs."
- Alexander McQueen Fall 2009 Collection/Paris runway
- Jana Sterbak 1987 Vanitas: Flesh Dress for an Albino Anorectic
- Cremaster 1: no appearance balloon blimps hover over air representing the genital swellings of the labioscora separating, in the female forming labia, in the male a scrotum. Once e this sexual differentiation is established; the chief function of the cremaster is to raise the testes when the scrotum is chilled. Metaphors of ascent and descent Cremaster 3- “Enterer Apprentice” character” lowest degree of the Masonic Order” - (Note ornament and order of Masonic site Guggenheim, Frank Lloyd Wright, architectural patterning of spiral, signifying hierarchy of cannon and artistic nobility): Highest (played by Richard Serra)- “Master Mason” melted steel (body as document) is replaced by melted Vaseline, Barneys contextualized reference of lubrication and viscosity
- Matthew Barney- Persona as Character, persona as coded narrative- Invented Roles that mesh archetypes and idiosyncratic authorship Persona as Art world Cremaster 4 “The Candidate ” dandified Tap dancer half man half sheep Takes plan on the “Isle of man” “three Fairess_ personas of sexual ambiguity.
- his picture appeared in the front of the issue, as an advertisement for the artist's show at the Paula Cooper Gallery. Benglis's picture would unsettle anyone not fixated on precisely this mix of sexual attributes: gorgeously feminine body, boyish haircut, super-masculine phallus. The editors' displeasure arrived on schedule, as expected. Still, it was a mild shock to see how determined they were to feel nothing but displeasure, disgust, indignation. A few months later, Robert Rosenblum wrote to Artforum with a proposal: "Let's give three dildos and a Pandora's Box to Ms. Lynda Benglis, who finally brought out of the closet the Sons and Daughters of the Founding Fathers of the Artforum Committee of Public Decency and Ladies' Etiquette. Too bad they weren't around to protest when Dada and Surrealism let those arty people run amok and do all those unspeakably vulgar things."
- Lynda Benglis, For Carl Andre, 1970, pigmented polyurethane foam Lynda Benglis, Eat Meat, 1975, cast bronze
- Christian Boltanski Personnes Grand Palais, Paris
- The title is a play on words. In French, the plural word ‘personnes’ means ‘people’, but the singular form of the same word, ‘personne’, means ‘no-one’. Both words are pronounced exactly the same way. So– its a word that denotes presence but literally contains absence. The ten tonnes of recycled human clothing that make up the bulk of the piec. Hundreds of human heartbeats, recorded by Boltanski for the project, which reverberate in the enormous space of the hall.
- Jana Sterbak Absorption: Work in Progress 1995 Two photographic panels mounted on aluminum 71 H x 48 inches
- olkert de Jong; The Practice ‘Take 7 ′ , 2008 Styrofoam, pigmented polyurethane foam, wood H-65.5 ″ /W-31.5 ″ /D-33.5 ″ Courtesy of Office For Contemporary Art, Amsterdam Estimated Retail Value: $46,000.00
- Since the middle of the 1990s,Vanessa Beecroft stages performances that use naked and stylized female bodies as tableaus. In the case of this work from the year 2002, created in Sao Paulo, the determining stylistic elements chosen for the staging amount to a uniformed coloring of the flesh and the wearing of wigs. These refer to the social content of advertising images—the different skin tones being reminiscent of Brazil’s multicolored society.
- Piano Americano , 1996 Laser disc, 30 minutes Dimensions variable Courtesy of Brae Art © Vanessa Beecroft vb47.364.dr , 2001 Piezo pigment print, Edition of 40 from the BAM Photography Portfolio II 20 x 30 inches Courtesy of Serge Sorokko Gallery
- Blind Man's Buff." Louise Bourgeois Blind Man´s Buff 1984. Marble, Photo: Robert Miller Gallery • "My childhood never lost its magic, never lost its mystery, and never lost its drama."
- Louise Bourgeois, Seven in a Bed , 2001, fabric, stainless steel, glass and wood, 172.7 x 85 x 87.6 cm, Courtesy Cheim & Read, New York, Photo: Christopher Burke
- Siobhan Hapaska Home Siobhan Hapaska Home 1996 Glass, reinforced plastic, opalescent paint, acrylic lacquer 51 x 33 3/4 x 33 inches 129 x 86 x 85.5 1996 Glass, reinforced plastic, opalescent paint, acrylic lacquer 51 x 33 3/4 x 33 inches 129 x 86 x 85.5 cm
- No visible means of escape
- finger extensiuons 1972 Rebecca Horn, «Cornucopia, Seance for Two Breasts», 1970 Photograph: Achim Thode | © Rebecca Horn
- Jana Sterbak Remote Control 1898
- 2009 Eleven Heavy Things, created for the 53rd International Art Exhibition at the Venice Biennale, is comprised of eleven sculptural works installed in an enclosed garden within Giardino delle Vergini. The cast fiber-glass, steel-lined pieces are designed for interaction: pedestals to stand on, tablets with holes for body parts, and free-standing abstract headdresses. A series of three pedestals in ascending height, The Guilty One, The Guiltier One, The Guiltiest One, ask the viewer to ascribe their guilt relative to the people around them. A large flat shape, hand-painted with Burberry plaid, hovers on a pole, waiting to become someone’s aura. A series of tablets invite heads, arms, legs and one finger: This is not the first hole my finger has been in, nor will it be the last. A wider pedestal for two people to hug on reads, We don!t know each other, we’re just hugging for the picture…. July assumes and invites the picture — these are eleven photo opportunities, in a city where one is always clutching a camera. Though the work begins as sculpture, it becomes a performance that is only complete when these tourist photos are uploaded onto personal blogs and sent in emails — at which point the audience changes, and the subject clearly becomes the participants, revealing themselves through the work.
- Tim Hawkinson Scout, 2006-2007 cardboard, box strapping and urethane foam 72 ″ x 8 ′ 4 ″ x 58 ″ (182.9 cm x 254 cm x 147.3 cm) Photo by: Joshua White / Courtesy PaceWildenstein, New York © Tim Hawkinson, Courtesy PaceWildenstein, New York Scout (2006-2007) is a headless figure with absurdly oversized hands, created from pieces of cardboard lashed together. Hawkinson explains that the work is a "sensory homunculus buckskin outfit for a sensory homunculus scout" (interview with the artist, Art Review, April 2007). A sensory homunculus, perhaps more often seen in science classes, is a distorted human figure which reflects the relative space our body parts occupy on the somatosensory cortex. Our hands, lips, feet and sex organs have more sensory neurons than other parts of the body and this is correspondingly expressed.