Carnal Art: Orlan's Refacing by C. Jill O'Bryan

By C. Jill O'Bryan

The French artist Orlan is notorious for performances in which her physique is surgically altered. After 9 such performance-surgeries, positive factors from Greek goddesses painted by way of Botticelli, Gérard, Moreau, and an nameless institution of Fontainebleau artist, in addition to from da Vinci's Mona Lisa were implanted into Orlan's face. in the course of her surgical performances, audience witness a fabric tampering with the connection among the face and person identification, the unique and the built, an old critique of the organization of artwork with attractiveness and the feminine body.

Responding to Orlan's definition of her functionality surgical procedures as "carnal art," C. Jill O'Bryan considers how the artist's ever-fluctuating reconstructions of her face query idealized good looks and feminine identification, persuasively arguing that Orlan's surgically reinvented face succeeds in either reinforcing and breaking up corporeal subjectivity and illustration. O'Bryan contextualizes Orlan's surgical procedures in the centuries-long historical past of public dissections and surgical procedures open to the general public and of lavish anatomical illustrations created to attract the gaze into the opened anatomy to Artaud's "Theater of Cruelty" within the early 20th century and modern works and performances by means of Cindy Sherman and Hans Bellman and Annie Sprinkle.

A compelling blurring of the road among feminist conception and paintings feedback, O'Bryan's shut exam of Orlan's performance-surgeries complicates and reconfigures the notions of identity--and its relation to the body--at the very middle of experience.

--This textual content refers to an alternative Kindle Edition edition.

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