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Book Description Condition: New. 2005. Paperback. New. Seller Inventory # P005732
Book Description Condition: New. Brand New. Seller Inventory # 9780816643233
Book Description Condition: New. Book is in NEW condition. 0.9. Seller Inventory # 0816643237-2-1
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Book Description Condition: New. Seller Inventory # 2568236-n
Book Description Condition: New. New! This book is in the same immaculate condition as when it was published 0.9. Seller Inventory # 353-0816643237-new
Book Description Paperback. Condition: Brand New. new title edition. 199 pages. 9.75x7.00x0.50 inches. In Stock. Seller Inventory # zk0816643237
Book Description Paperback. Condition: new. Paperback. The French artist Orlan is infamous for performances during which her body is surgically altered. In nine such performance surgeries, features from Greek goddesses painted by Botticelli, Gerard, Moreau, and an anonymous School of Fontainebleau artist, as well as from da Vincis Mona Lisa, were implanted into Orlans face. During her surgical performances, viewers witness a material tampering with the relationship between the face and individual identity, the original and the constructed, a historical critique of the association of art with beauty and the female body.Responding to Orlans definition of her performance surgeries as carnal art, C. Jill OBryan considers how the artists ever-fluctuating reconstructions of her face question idealized beauty and female identity, persuasively arguing that Orlans surgically reinvented face succeeds in both reinforcing and breaking apart corporeal subjectivity and representation. OBryan contextualizes Orlans operations within the centuries-long history of public dissections and surgeries, lavish anatomical illustrations created to draw the gaze into the opened anatomy, Artauds Theater of Cruelty in the early twentieth century, and contemporary works and performances by Cindy Sherman, Hans Bellman, and Annie Sprinkle. A compelling blurring of the line between feminist theory and art criticism, OBryans close examination of Orlans performance surgeries complicates and reconfigures the notion of identityand its relation to the bodyat the very boundary dividing art from identity.C. Jill OBryan is an independent scholar and artist who has written and lectured widely on Orlan in particular and body art in general. The French artist Orlan is famous for performances during which her body is surgically altered. During her performances, viewers witness a material tampering with the realtionship between the face and individual identity, the original and the constructed, a historical critique of the association of art with beauty and the female body. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability. Seller Inventory # 9780816643233
Book Description Paperback. Condition: new. Paperback. The French artist Orlan is infamous for performances during which her body is surgically altered. In nine such performance surgeries, features from Greek goddesses painted by Botticelli, Gerard, Moreau, and an anonymous School of Fontainebleau artist, as well as from da Vincis Mona Lisa, were implanted into Orlans face. During her surgical performances, viewers witness a material tampering with the relationship between the face and individual identity, the original and the constructed, a historical critique of the association of art with beauty and the female body.Responding to Orlans definition of her performance surgeries as carnal art, C. Jill OBryan considers how the artists ever-fluctuating reconstructions of her face question idealized beauty and female identity, persuasively arguing that Orlans surgically reinvented face succeeds in both reinforcing and breaking apart corporeal subjectivity and representation. OBryan contextualizes Orlans operations within the centuries-long history of public dissections and surgeries, lavish anatomical illustrations created to draw the gaze into the opened anatomy, Artauds Theater of Cruelty in the early twentieth century, and contemporary works and performances by Cindy Sherman, Hans Bellman, and Annie Sprinkle. A compelling blurring of the line between feminist theory and art criticism, OBryans close examination of Orlans performance surgeries complicates and reconfigures the notion of identityand its relation to the bodyat the very boundary dividing art from identity.C. Jill OBryan is an independent scholar and artist who has written and lectured widely on Orlan in particular and body art in general. The French artist Orlan is famous for performances during which her body is surgically altered. During her performances, viewers witness a material tampering with the realtionship between the face and individual identity, the original and the constructed, a historical critique of the association of art with beauty and the female body. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability. Seller Inventory # 9780816643233
Book Description Condition: New. New. In shrink wrap. Looks like an interesting title! 0.94. Seller Inventory # Q-0816643237