ARTH 374 Test 2

performance art

Dramatic presentation by visual artists (as distinguished from theater artists such as actors and dancers) in front of an audience, usually apart from a formal theatrical setting. Art is presented live by the artist and sometimes with collaborators or performers.

postminimalism

- organic forms, often materials that reference the body

feminism

A female movement for gender equality. 3 stages of Feminism (Art Since 1990: 1975) • Women struggle for equal rights • Insisted on fundamental differences between women and men • Critiqued women within patriarchal society

body art

Art in which the human body is used in art and "as" art (the body as both the subject and object of the work)

process art

Art that focuses on the process of it being made rather than the actual outcome of the piece. It's form follows the logic of the materials, the forms are the result of the interaction of artist's action.

Robert Smithson, The Spiral Jetty, 1970

Basalt rock, salt crystals, earth, water • A work of art that is designed for a particular space is called "[1]."- site-specific • A good example of this kind of work is- spiral jetty • earthworks (entropy) • on salt lake • 30 years later this all was in water- changes the structure through the time- a field effect - object dissolves into field in time • change and flux • prompting to get out of galleries • Robert Smithson's earthwork Spiral Jetty (1970) is located at Rozel Point peninsula on the northeastern shore of Great Salt Lake. • Using over six thousand tons of black basalt rocks and earth from the site, Smithson formed a coil 1,500 feet long and 15 feet wide that winds counterclockwise off the shore into the water. • the most famous large-scale earthwork of the period, it has come to epitomize Land art. Its exceptional art historical importance and its unique beauty have drawn visitors and media attention from throughout Utah and around the world. • attracted Smithson for a number of reasons, including its remote location and the reddish quality of the water in that section of the lake (an effect of algae). • Using natural materials from the site, Smithson designed Spiral Jetty to extend into the lake several inches above the waterline. However, the earthwork is affected by seasonal fluctuations in the lake level, which can alternately submerge the work or leave it completely exposed and covered in salt crystals. • The close communion between Spiral Jetty and the super-saline Great Salt Lake emphasizes the entropic processes of erosion and physical disorder with which Smithson was continually fascinated.

Judy Chicago, The Dinner Party, 1974-9

Ceramic, porcelain, textile, 576 × 576 in. • Three long tables are set in an equilateral triangle on a tiled floor made up of 999 women's names1979, during the second phase of American art. It was seen as the epitome of "****" art where the female anatomy was incorporated into the piece. • multi-faceted in that her goal was to introduce the richness of women's heritage into the culture in three ways; a monumental work of art, a book and a film because she had discovered so much unknown information. • The Dinner Party, an important icon of 1970s feminist art and a milestone in twentieth-century art, • It was based all around the feminist movement. • It was a large display of 39 dinner plates all centered on famous historical female figures. It drew criticism from feminists however because it linked womanhood to its basic biological definition. • Each table represents a specific historical female figure and has a vagina like shaped placed upon it meant to represent that woman. • It was celebrated for its celebration of cultural womanhood in its depiction of several women. • Political • Engages in all other feminist takes on the subject. • It was a large display and represented woman all over the world from many backgrounds. • The Dinner Party comprises a massive ceremonial banquet, arranged on a triangular table with a total of thirtynine place settings, each commemorating an important woman from history. • The settings consist of embroidered runners, gold chalices and utensils, and china-painted porcelain plates with raised central motifs that are based on vulvar and butterfly forms and rendered in styles appropriate to the individual women being honored. • The names of another 999 women are inscribed in gold on the white tile floor below the triangular table. • This permanent installation is enhanced by rotating Herstory Gallery exhibitions relating to the 1,038 women honored at the table. • consists of a series of Entryway Banners, the ceremonial table representing 39 important historical female figures, the Heritage Panels, which elucidate the contributions of the 999 women on the Heritage Floor, and the Acknowledgement Panels that identify Judy Chicago's assistants and collaborators. Together, these components celebrate the many aspects of women's history and contributions.

Eva Hesse, Repetition Nineteen III, 1968

Fiberglass and polyester resin, nineteen units • postminimalism (with reference to body, an emotive or erotic alternative to minimalism, material are more organic, not industrial like in minimalism ) • composed of 19 translucent, bucket-like forms, each approximately 20 inches tall. Minimalist artists explored serial repetition of identical units, but Hesse loosened that principle. • Her forms are handmade and irregular rather than manufactured and hard-edged. • Hesse was drawn to unconventional materials like fiberglass, an industrial material that discolors and deteriorates over time. • In a 1970 interview, she discussed the development of her choices: "I varied the materials even further . . . and then they just grew. • They came from the floor, the ceiling, the walls, then it just became whatever it became." Repetition Nineteen III was one of the first sculptures in which Hesse used fiberglass, a material that quickly became her favorite to work with. • Like many artists of her generation, she explored repetition but, unlike her peers, she did not adhere to uniformity. • rather than relying on the strict, hard-edged geometry of Minimalism, she deployed softer, handmade forms. • This work is made of translucent industrial fiberglass, one of the artist's favorite materials. • Visually simple in its design, Repetition is actually complex for its many associations, both to Hesse's work to that date, as well as to the world around her. • The tube-like objects are in keeping with Hesse's compartmental preoccupations, but they are also ambiguously sexual. Even so, the translucent fiberglass allows light to pass through the containers glowingly, lending the composite artwork a calming pastoral or even quasi-spiritual quality. • None of these bucket-like forms are exactly alike, nor do they have a set order.

Cindy Sherman, Untitled Film Still #7, 1978

Gelatin silver print • Photographed herself in an unsettling narrative. Displayed the idea that selfhood is built on the representations of the stories we read or tell or films we see. • Post modernism/The pictures generation. • It explores themes of appropriation and critiques which are both characteristics of postmodernism. • The artist's picture dealt really with how woman were portrayed in film and the roles they were forced into. • It is the picture of a woman in night time attire coming out of a bedroom holding a wine glass. In this picture the artist portrays the person and creates a fake persona that she allows the audience to depict. • It was a shift into a more critique based form of art where photography was the medium instead of pictures like previous conceptual arts. • Political • Similar to conceptualization, other critique based art and feminism. • The artist positioned themself as the subject matter to allow the audience a chance to examine what they thought.

Daniel Buren, Peinture-Sculpture, 1971

Installation-Painting/Sculpture > White acrylic paint on woven cotton canvas with white and blue stripes, alternating and vertical on 66 x 32 ft. loose canvas • large banner occupying the middle space of the museum • Very large white and blue striped painting, the two extreme white bands of which are covered with white paint on the front and back, suspended by a cable from the dome of the museum, occupying the central empty space of the latter. • As the viewers went up the circular ramps, at times they would see a flat expanse of canvas, similar to a large painting. But as they continued around, the banner could also be experienced as a sculptural object. It specifically addressed the museum's imposing architecture and transformed the way it functioned. • people really wanted this to be taken down • as you walk around the "painting" it is always drawing your attention away from the artwork along the ramp • the piece was censored • installations are conceived and created solely from their architectural and institutional settings • the relationship between his work and the sites where they take place. • Buren examines a site's structure, architecture, layout of rooms, exits, hallways, staircases, and windows. He also considers the more abstract aspects of a given space: the network of social, economic, and political forces at play in any given context. Because his work considers this constellation of variables, each is particular to the site it inhabits. From their very conception, his works are closely related to settings that represent the scenarios of everyday living. They are meant for and exist through direct interaction, eliciting the viewer's sensibility, intelligence, and reflections. • Buren used the title Peinture-Sculpture (Painting-Sculpture) to suggest that his work contains qualities of both mediums. In what ways is it a painting? A sculpture? Do you feel the project was successful in functioning both as painting and sculpture? Why or why not? • This work was made "in situ," meaning that it was designed to interact with unique qualities of the Guggenheim Museum. • Buren's work for the Guggenheim International was highly controversial and was removed soon after the opening of the exhibition due to protests from other artists who claimed that by blocking views across the rotunda, Buren's work interfered with theirs. Guggenheim museum removed one of his works the night before the opening because other artists said his work had a negative impact on theirs. • In response to this censorship, Daniel Buren refused to install the second room, which was to cross the adjacent street perpendicular to the one located inside the museum.

earthworks

Land art was part of the wider conceptual art movement in the 1960s and 1970s. Earthwork stemmed from post-minimalism. It focuses on the art and its relationship with the relative environment. These artists utilized materials that were found in the environment and left them exposed to the forces of nature and time. This movement rejected traditional museum and gallery spaces.

Robert Smithson, Monuments of Passaic, 1967

Monuments of Passaic exists as three manifestations: a published article in Artforum, a photo work, and a photographic series • By framing the mundane sites as "monuments," Smithson challenges the conceptions of aesthetic merit and historical significance. • earthworks (entropy) • landscape and the work of art are inextricably linked. • The art form that is created in nature, using natural materials • September 1967, land artist Robert Smithson took a tour over Passaic in new Jersey* and created a short photoessay to report his journey, entitled "A Tour of the Monuments of Passaic, New Jersey" later published in "Artforum" magazine, December edition. • Six photographs of unremarkable industrial landscapes in Passaic, New Jersey depict evidence of man-made history, yet the title of "monument" seems ironic. • Stripped of any apparent artistic agenda, the images appear photojournalistic—without an accompanying news article to inform our perception. • Smithson was perpetually intrigued by suburbia; in its sameness he saw a version of eternity defined by formal repetition rather than temporal longevity.

Chris Burden, Trans-fixed, 1974

Nailed Himself to a Volkswagen beetle. The performance was the garage door would open, the car would come out and rev its engine for two minutes to signify Chris' screams, then roll back into the garage. • an American sculptor and performance artist known for his extreme works • Many of his works have been best described as "shocking". • What distinguishes him from other artists of the 20th century is the radical nature of his work. • His performance pieces were often depictions of violence in which he was always his victim. • 1971, part of the body art and specially it's ritual branch since it was body art based upon religious symbolism. • It was done in vain of something Acconi would have done since it was aggressive, masochistic and displayed some exhibitionism. • Chris Burden was glued to the back of a Volkswagen Beetle in a small garage on Speedway Avenue. First, Burden stood on the rear bumper of the car. He then laid down, stretching his arms onto the roof. Nails got fixed through the palm of his hands and into the car's roof. Then, the garage door opened, and the vehicle was pushed halfway outside. The engine ran at full speed. After two minutes, the spectacle was over, and the car got pushed back inside, and the door got closed. • Burden considered the Volkswagen Beetle "the 'people's car," so his crucifixion liberated not just himself but everyone else as well. The title Trans-fixed reminds of the crucifixion of Jesus Christ. The performance also recalls the concept of transubstantiation, the process by which the Eucharistic bread and wine (communion) become 'Christ's body and blood. • By having this sort of pain and distress at first hand, Burden can create it more familiar and, in turn, demystify the horror of such events by making them known both to himself and to the public. As a consequence, the group fears that society operates to maintain individuals in line are revealed and render impotent the concept that the human body is regulated by law. • It was a statement on religious and also challenged the idea of what was acceptable for artists to do and if the audience should allow it. • It was a continuation of Acconi's work and later raised the question what was seen as acceptable and unacceptable. • Acconi's trademarks and seedbed. • It was extreme in nature and very violent, producing "relics" as the nails.

Mary Kelly, Post-Partum Document: Documentation VI, Pre-Writing Alphabet, Exergue and Diary, 1978

Perspex unit, white card, resin, slate, 18 units • Exists somewhere between a psycho analytic case study and an ethnographic filed-report. Made up of six sections with a total of 135 unites, it mixes different kinds of images and texts in a double narrative. • 1973, it was a part of the feminist period of art. • It directly explores the relationship between a mother and a child. Specifically how a mother would be treated keeping Freudian ideologies in mind. • It is essentially a case study on the relationship of a mother and son and his growth within the school system. It also explores how she may be losing him to these other institutions. • It is the growth of a child and his ability to communicate with his mother. It explores their relationship and how he drifts apart. • It references the Rosetta stone with how it is presented and actually shows his language go from symbolism to clearer text. • Personal • It is a long term case study that incorporates Freudian ideologies and how they can affect the • Mary Kelly's Documentation VI is one part of a larger installation, Post-Partum Document, which explores the relationship between the artist and her son over six years. • Chronicling the early developmental years of his life and his growing separation from her, Documentation VI consists of eighteen tablets constructed from slate and resin that resemble small Rosetta stones. • They show the boy's earliest inscriptions charting his development as he learnt to form letters and write his own name. Each slate also features the artist's handwritten interpretations and a typed diary-like entry on her emotional state and concerns. • By making her son the subject of her work, Kelly proposed that female artists can enter the world of art-making without forsaking the biological activity of creating and rearing a child

Vito Acconci, Trademarks, 1970

Photograph > Black and white photographs, typewritten and handwritten sheets, contact printing and book page mounted on cardboard, in 5 frames > lithograph on paper/Print • Around 1970 it is associated with the body art movement. • It was a response to some feminists thinking of reclaiming their body in a way that parallel reclaiming what was rightfully his. • It is a comment on the autographic mark in art and he also become with an active subject and passive object • The artist is making small marks on himself in an act to "reclaim what is his" this is a commentary on the idea of an artistic autograph. • It was one of the first examples of the artist's task body art which focused on mundane things done with the body. • Similar in theme to Bruce Nauman's wax impressions. • Presented body art as having a masochistic polarity at play and as presenting the body as a commodity. • Bit into his flesh, turning it into a graphic medium of indentations, which were then inked and impressed on paper

Lawrence Weiner, a square removal from a rug in use, 1969

Photograph, text sheet: felt pen on paper- 8.27 inch x 6.3 inch • Conceptual Artist Lawrence Weiner is quite fond of formulating statements in which he claims to have dismissed metaphors from his artwork • his use of vinyl lettering, called "text" in the art world, is an obvious combination of tropes, masking itself as non-trophic, which is in itself another metaphor. • Lawrence Weiner investigates the system whereby the visitor perceives and interprets the artist's ideas. • for Weiner, the proposition is much more important than its realization, and for this reason words, as meaning, are more relevant than the object in and of itself, and the words ' interpretation as a work of art is entrusted to the viewer. • lends itself to multiple levels of interpretation. • According to the artist's intentions, the work consists of the proposition and the materials to which it refers. • The fact that the phrase is written in vinyl on one of the walls of the Museum is only one possible interpretation since one might also physically remove a corner of a rug that is being used. • Weiner's works are not based simply on language but rather utilize language as material. • His art might be defined as dialectical, in that it is based on the oppositional relationships between different forms of thought —that of the artist and that of the viewer —in consistent and continuous dialogue....IN AS MUCH AS /IN AS MUCH AS ...,1972,makes itself evident as writing on the wall. • Words, given form on the surface of the wall. They, like paint on canvas, and make use of the picture plane the wall offers. Words both point to, and are the result of, the power to generate metaphor that is embedded in our experience of material. These particular words pointing to a 'corner' and a 'rug,' to absence and presence, raise a question about use value, and to the process of making, that resonates with the space between the making of the exhibition and the art objects contained.

Barbara Kruger, Untitled (We Won't Play Nature to Your Culture), 1983

Photographic print; Montages • Text refers to binaries that structure not only language but all cultural forms of meaning. The woman in picture is literally "playing" nature as she lies prone on the field. • Postmodernism and pictures generation. • It is appropriation of mass marketing adds and subverts the image into more feminist-based ideals. • It challenges the 'nature' set forth by mass media of what the genders are supposed to do. • A woman is presented on a magazine cover with her eyelids covered by leaves as if she is supposed to represent being the passive victim of nature. • It is an appropriation of mass media culture and an exploration of the theme of nature versus nurture. • Barbara Kruger examines, by appropriation, the images and language and ultimately the stereotypes that represent power; ideologies that have become 'truths whose illusionary nature has been forgotten, metaphors that have been used up and lost their imprint and that now operate as mere metal, no longer as coins

Hans Haacke, Shapolsky et al., Manhattan Real Estate Holdings, A Real-Time Social System, as of May 1, 1971, 1971

Photographs: 9 photostats, 142 gelatin silver prints, and 142 photocopies • violated real estate laws in NY • resulted in the cancellation of his "unfinished business" exhibition. • chronicles the fraudulent activities of one of New York City's largest slumlords over the course of two decades • The work comprises 146 photographs of Manhattan apartment buildings, mostly tenements; maps of Harlem and the Lower East Side; photographs and charts documenting real estate transactions; and texts with information about the location, ownership structure, and financial histories of the buildings. • Haacke culled all of his data from the public record, adapting a neutral presentational style that resembles various contemporaneous projects in conceptual art. • Shapolsky et al. were to be part of the artist's solo exhibition at the Guggenheim Museum in the spring of 1971, but the show was canceled six weeks before its scheduled opening. • In this work, Haacke used existing, public records to construct the history of a series of buildings owned by a single family. One hundred and forty-six photographs, maps of Harlem and the Lower East Side, where these properties were located, and charts documenting the real estate transactions over the period of ownership of these works. • In many ways, it's a highly objective document, in that it puts forward a series of facts about these various properties, owned by a real estate, owned by a landlord who was not perceived as reputable in the way that he dealt with his tenants. And this is something that is very consistent throughout Haacke's work, is looking at systems of exchange, systems of ownership of works of art, and at the heart of it is really laying bare the kinds of transactions that are often obscured. The kinds of movement and exchanges that one thinks of in terms of economic systems, market systems, and social systems. • This work garnered enormous controversy when it was scheduled for presentation in 1971 at the Guggenheim Museum. And in fact, not only was Haacke's show canceled, but the curator who had organized the exhibition was terminated from their position.

Martha Rosler, First Lady (Pat Nixon), 1967-72

Photomontage, edition ten of ten • Her anti-war work is sometimes wrongly interpreted as being against just one kind of war: the colonialist, far away. • she is ever doing is examining the material bases and left-overs from our daily lives. History and art must be inclusive: take in what's found at Wall-Mart, low and vulgar as well as high and elegant art. • Post Modernism and Pictures generation • a photomontage series completed first during the Vietnam War, and reprised following the US-led invasion of Iraq. • This time period focused heavily on photography and political statements through them. • It was one of the first instances where the politicization of a photomontage type of work reached the American public. • Horrible images of the Vietnam War were placed behind an image of Pat Nixon as a means to criticize the non-response from the current white house. • It was following a trend of photographic political statements. • The combing of images in this photographic montage style and political message was shocking at the time. • Martha Rosler made House Beautiful: Bringing the War Home in protest against the Vietnam War. • The photomontages in this series seamlessly combine images of the war with advertisements and glossy illustrations of fashionable American home interiors, many published in the pages of House Beautiful. • By conjoining images of war and domesticity so that their subjects appear to share the same space, Rosler alludes to the phrase "living room war," coined to characterize the Vietnam War, the first major military conflict to be extensively televised. Rosler considered these images to be agitprop and originally disseminated them as Xeroxed flyers at anti-war demonstrations.

postmodernism

Post-World War II intellectual movement and cultural attitude focusing on cultural pluralism and release from the confines and ideology of Western high culture.

"deskilling"

Taking the art and making it look as basic as it can with no artistic qualities about it

Pictures Generation

a loose circle of American artists who came to artistic maturity and critical recognition in the 80s. Met exhibition, appropriation of images from the consumer and media-saturated age (Cindy Sherman was one of the artists)

Judy Chicago and Miriam Schapiro, Womanhouse, 1972

an experiential and experimental feminist art installation featuring installation, sculpture, textile, and performance art in a run-down Hollywood home. • During the 70s feminist movement. • It was heavily based around the theme of woman and specifically their societal roles. • It was the first public exhibition of feminist art with installations and live performances. • Several of the displays either commented on the stereotypical role given to women in households and some of the displays subverted those expectations. It exaggerated the roles of women as mothers and housekeepers to emphasize their importance. • It showed a large growth in the feminist movement and saw several local artists participate in it. • Political • All other feminist works of arts • It was an actual exhibition people could see.

Eva Hesse, Accession II, 1967-8

galvanized steel with plastic tubing, Post-Minimalism • postminimalism (an emotive or erotic alternative to minimalism) • phantasmic corporeality • Industrial made object -makes the viewer want to touch the box and look inside it • triggers full body response • Hesse spends weeks making her works herself • process of making the piece is very important • Her work involves repetitive actions • draws your attention to surfaces and interiors • Accession II used industrial fabrication techniques and was her first fabricated sculpture. • Similar to many Post-Minimalist artists, she used hand-made techniques to give human characteristics to her works. In this case, Hesse filled 30,760 holes by hand with plastic tubing. • This gave the whole series the human characteristic of female genitalia. • The obsessive hand-threading of tubing contrasted sharply with the machine fabrication of the external structures. In addition, the contrast and human characteristic allows viewers and critics to question her work of "What is art?". This was Hesse's goal. • It was her dream and deepest wishes to move beyond what was considered sculpture.

Yayoi Kusama, Infinity Mirror Room - Phalli's Field, 1965

obsessive repetition • Kasuma expressed an interest in the body like many other post-minimalists in representing her phobia of sexuality and sex. • An example is her covering large items in abstract forms of male genitalia. • -interested in bodily relationship with sculpture • -celebration of the maker and the process • -she later moves on to some performance art • -always included polka dots • Kusama's works the fact that she incorporates her condition of schizophrenia is really unique in the sense that not many artists often incorporate mental illnesses into their works during that era. • her take on Minimalism, extending it by not having the audience walk and examine the structure, and instead, has you stand in one set place in her installations, specifically her infinity rooms, and allowing her mirrors to do the work for you, showcasing all perspectives of her subject. • postminimalism (with reference to the body, an emotive or erotic alternative to minimalism)- is clearly governed more by the character of the material

Richard Serra, Casting, 1969

process art- is an artistic movement as well as a creative sentiment where the end-product of art and craft is not the principal focus - Process art is concerned with the actual doing and how actions can be defined as an actual work of art. • Process art is driven to overcome traditional oppositions like /content. • Medium specificity was eliminated, so now did the work turn motivated by the logic of materials. • His sculptures recast Minimalism on a monumental scale. • Thus, the macho, aggressive feel of sculptures like Backdoor Pipeline (2010)—in a style that has been called "he-man Minimalism"—can also be understood as a way to shed or float above the burdens of Modernism. • Serra makes you constantly renegotiate your relationship with an artwork that requires not only an artist, but also engineers, forgers, construction workers, preparators, curators, and viewers to participate. • His art alters the site.

Ed Ruscha, Every Building on the Sunset Strip, 1966

proto-conceptual photography • He took pictures of major buildings and then empty lots. Rather than highlighting the architecture, he commentates on the 'sameness' of these architectures, essentially stating that the uniqueness of these structures is drained of energy, obviously only made to be utilized for big store fronts. • New Objectivity wanted not simply to record the exact appearance of objects. • they also proposed that photography could serve to create an archive of the visible world—to classify the world around them. These photographers saw each subject, whether person or image of a building, as representative of a generalized "Type." • Applying this to Ruscha one could ask, why do gas stations appear similar and at the same time with surface differences? • Ruscha archival forms are adopted by conceptual art: • photographs - "deskilled" (an effort to eliminate artisanal competence) • printed books - easier distribution.

Ed Ruscha, Twenty-Six Gasoline Stations, 1962

proto-conceptual photography • architecture as a readymade • examination of architecture as a language • Ruscha - gasoline stations, a readymade subject, but they often share characteristics or a similar language that involves pop, commercial imagery but also repetitive forms • consider this in terms of Fernand de Saussure's study of language: • where he examines how language functions: in 2 parts • langue - a system of communication, rules, grammar • parole - individual speech acts

Bernd and Hilla Becher, Cooling Towers, 1993

proto-conceptual photography • black and white photographs of different cooling towers in Germany. • They are very portrait-like: taken from straight on, with very even lighting, and not much space around them so each tower is the focus. • Were motivated both artistically and historically because the world was becoming more industrialized and would soon likely abandon these styles of cooling towers. • Arranged in a typology ( a group of 9, 12, or 15 images of a specific kind of building).

institutional critique

reveals how museums, galleries and other organizations affect how art is produced, displayed or marketed

conceptual art

the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair.

Louise Bourgeois, The Destruction of the Father, 1974

• post-minimalism (with reference to the body, an emotive or erotic alternative to minimalism) • -patricidal aggression • -"Everything I loved had the shape of people around me—the shape of my husband, the shape of the children," Bourgeois has said. "So when I wanted to represent something I love, I obviously represented a little penis." • --Formal abstraction • -Psycho-analytical - • work is drawn from childhood magic, mystery, and drama. • she says that she "transforms hate into love." • -Focus on the subject: the body as a reductive fragment or part-object • the desiring organ that can yield or withhold objects of desire. • Art Historian Rosalind Krauss - organs, even in material choices of latex, rubber, wax, plastic, plaster, hemp, wax, resin Krauss says, "the part-object speaks....to the way the body can be riven, cannibalized, shattered." • Tissue of Citations - a reference to former works of art Ancient Greek sculpture