Kicking off after the last post, we were looking at the use of the body in contemporary art.
One begins to notice a drastic approach significant evolution of concepts derived from the portrayal of the body (or the human presence).
By the 1970’s performance art (as well as body) became the new pervading trend which involved the notion of time and space, a presence in a medium and a relationship between the artwork and the audience.
One of my personal favorite examples of Performance Art is Carolee Schneeman’s performance -Interior Scroll. The performance piece took place in East Hampton New York, where Schneeman stood on a table with her bare naked body painted in mud. Whilst she began to expel a scroll like parchment out of her vagina. yes.
Recite in her Glory;
“I thought of the vagina in many ways-physically, conceptually: as a sculptural form, an architectural referent, the sources of sacred knowledge, ecstasy, birth passage, transformation. I saw the vagina as a translucent chamber of which the serpent was an outward model: enlivened by its passage from the visible to the invisible, a spiraled coil ringed with the shape of desire and generative mysteries, attributes of both female and male sexual power. This source of interior knowledge would be symbolized as the primary index unifying spirit and flesh in Goddess worship.”
Enter the idea of the body becoming the tool for assertion, a tool for power.
Undoubtedly the representation of body in art is the culmination of years of experimentation, philosophy and exploration and as such the power of the body to communicate will continue to be explored by artists – who continuously shaping it into the most expressive ways of conveying emotion.