Feminist Art, Bio/Body Art, Queer Art

*this post is an older category and contains an alphabetic list of various artists*

Sonia Boyce, Chila Kumari Burman, Judy Chicago, Helen Chadwick, Shu Lea Cheang ‘Brandon’

Marjorie Franklin ‘Digital Blood’: two female software developers and artificial life

Lynn Hershman– pioneer in interactive work with ‘Lorna’ and ‘Deep Contact’


paper given by Julia Lesage, English, U of OR at the Console-ing Passions Television Conference, Univ of Seattle, WA, April 1995

Marita Liulia ‘Ambitious Bitch’ CD-ROM

Sarah LucasTate collection

‘One of the best-known young British artists, Lucas challenges sexual stereotypes in her work. Using sculpture, photography and installations, Lucas denies the idea that sex is disgusting. Her art attempts to reflect life as it is lived – messy, funny, pathetic and full of contradictions’ (Radical Art and Artists, The Human Canvas).

some biblio from wikipedia :

* Yilmaz Dziewior & Beatrix Ruf (eds.), Sarah Lucas: Exhibitions and Catalogue Raisonné 1989 – 2000 (Osfildern-Ruit / London: Hatje Cantz Verlag / Tate Publishing), 2005

* Sarah Lucas and Olivier Garbay, God is Dad (London: Sadie Coles HQ and Koenig Books), 2005

* Matthew Collings, Sarah Lucas (London: Tate Publishing), 2002

* Parkett, 45, 1995, pp. 76–115 [five articles by various authors]

* M. Sladen: ‘’Vice and Versatility, A. Press, 214, June 1996, pp. 36–41.

* Sarah Lucas (exh. cat., Rotterdam: Mus. Boymans—van Beuningen) 1996

* Michele Robecchi, Sarah Lucas (Milan: Electa Mondadori), 2007



Susan E. Metros’Good Daughter, Bad Mother, Good Mother, Bad Daughter: Catharsis’


Kira O’Reilly – performance artist (presented at the Human Canvas, Channel 4) (weblog : http://www.kiraoreilly.com/blog/)

Bad Humours / Affected, Bonnington Gallery, Nottingham Trent University Festival 1998
Untitled Action for Bomb Shelter, Kuopio, Finland Anti Contemporary Art Festival 2003
Succour, Break 2.1 Festival, Ljubljana, Slovenia 2002

‘My practice stems from fine art background employing performance, and some video and installation with which to consider the body as a site in which narrative threads of the personal, sexual, social and political knot and unknot in shifting permutations. The materiality or fabric of the body, as well as its specificity is important, relationships between bodily interior/exterior spaces are explored as a continuum, the permeable boundaries of the skin membrane defy it as an impenetrable container of a coherent or fixed ‘self’. Frequently directed interventions are made into the body as a bodily utterance or articulation; invoking notions of trauma (a wound) and stigma (a mark) towards a ‘spoiling’ and opening of the body suggesting an alteriy of otherness. The visual considerations tend to be formal, economical and precise. Its minimalist sculptural approach both informs and provides a frame work with which to view the work. Current research and development expands on ideas of mark making as a bodily trace using blood, foregrounding both a materiality and a fragmentation of the body within a given and specific space and place responding directly to the architecture and the body of the site.” [Artist statement at VIEW (nearer to the time): A work in two parts -Kira O’Reilly With Ernst Fischer]


inthewrongplaceness, 2009 opening performance at the sk-interfaces (26 September- 10 January 2010
/opening Friday 25 September 2009) at Casino Luxembourg. Photo credit: Axel Heise (via we-make-money-not-art.com)

[about sk-interfaces

‘Skin is our natural interface to the world – but it is progressively being replaced by technological extensions, some of which can have liberating, other rather new restrictive, effects. The trans-disciplinary exhibition sk-interfaces presents about 20 international artists who question the ways in which today’s techno-sciences alter our relation to the world: digital technologies, architecture, tissue cultures, transgenesis, self-experiments or telepresence – the artists appropriate these methods and explore the permeability between disciplines and between art and science. Their interfaces connect us with different species, destabilise our definition of being human today and reflect on the question of satellite bodies’.]

This is a work with the artist and a dead pig, also performed Saturday 19

August 2006, Penzance Town Centre (Cornwall).

‘Over a period of four hours on the second Friday of Tract, viewers were   escorted, one at a time, from the gallery shop to a back alley in the middle of Penzance. They were then led through a small door and down a corridor to an old disused social club. There it was explained that they could ‘touch both animal and human flesh’ and were given latex gloves in order to do so. They were then sent in, alone, to witness the performance inthewrongplaceness’ (Tract Live Art Programme).

The artist says: ‘inthewrongplaceness, a durational performance made for one person at a time, made on my return to the UK from SymbioticA, it was a response to my experiences of working from pigs bodies in a scientific research environment and encountering the non-human. It was also very much influenced by a book called Pig Tales by Marie Darrieussecq, about a woman who turns into a pig. She spends quite some time in the middle of the text oscillating through in between stages, neither entirely one nor the other’ (Pigginess fantasies, Hybrid).



Orlan, the pioneering French performance artist, has been working since the sixties. She uses here body to express ideas about cosmetic engineering, smart drugs, advertising and conventions of representing female beauty. Orlan’s polemical programme is ‘total self-transformation’, to be ‘revolting and revolutionary’, to tackle taboos about the body ‘through a conceptual bomb, into the polite, market-oriented art world’ (The Human Canvas, Channel 4).

Cindy Sherman


Lydia Schouten How does it Feel to be a sex object performance, 1979 Galerie Felison, Velsen, Holland & Project Arts Centre, Dublin, Ireland


Jill Scott – series of interactive installations that examine shifting attitudes towards tech and gender

‘Paradise Tossed’ – desire and design (1992) ‘The interweaving of four women’s stories revealing visions of the future and allowing a mosaic approach to questions of technology, utopia and women’s changing roles and attitudes throughout the 20th century. The four narratives form the basis of an interactive video disc installation’ source Film Database Film Australia. Also at Ars Electronic site [online] available from [http://www.aec.at/en/archives/prix_archive/prix_projekt.asp?iProjectID=2481#]

‘Frontiers of Utopia’ (1996)Experimental representation of personal histories video fragment at V2

Jo Spence (1934-1992) self-portrait photography of her body changes during breast cancer

[tags: alternative medicine, women’s health, illness narrative, pathography]

Online archive available from [http://hosted.aware.easynet.co.uk/jospence/jo1.htm] accessed 10 November

Putting Myself in the Picture: a Political, Personal and Photographic Autobiography. Frances Borzello, editor. Camden Press. 1986

Cultural Sniping: The Art of Transgression. Jo Stanley, editor. Routledge.1995

by others ‘Silent Health: Women, Health and Representation’ (London: Camerawork,1990)

Christine Tamblyn – gender and technology

‘She Loves it, she loves it not’ (with M. Franklin)

‘Mistaken Identities’

Joan Trukenbrod ‘Everyday Family’ (about alternative family formations)


Jennifer Willet– a BioArtist exploring notions of the body, self and subjectivity, in relation to biotechnological and digital technologies with an emphasis on social and political criticism. She is taking part in the VASTAL, VivoArts School for Transgenic Aesthetics Ltd., ( a temporary research and education institute of Adam Zaretsky and Waag Society). Her InsideOut: Laboratory Ecologies project dealt with her experiences as an interveneing presence in various labs, whereas her ‘(RE)Embodying Biotechnology: Towards the Democratization of Biotech Through Embodied Art Practices’, attempts to move

‘away from computational models and reuniting notions of embodiment with the language and representation of biotechnology, with a social and political mandate towards informed discourse and public consent’ (2006-2008).

VIEW (nearer to the time)
A work in two parts

Kira O’Reilly
With Ernst Fischer

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