Carolee Schneemann, Interior Scroll (cave performance), 1995, Carolina Nitsch Contemporary Art
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 it’s 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 – CS
What are the chances the artist’s ideas for this piece are communicated from within the Basel Borg? Just a reminder that a slumping market hasn’t changed the fundemental exhibition concerns for artists exhibiting work at art fairs. This observation isn’t exactly news but the Schneemann scroll served to remind me that art fairs — even in downturns — neutralize content.
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The market is external to the work, but it is the work’s interiority that is its value.
The fulfilment of neoliberalism’s fantasies in art would be if the market reached into the work. I don’t think that would be a good thing…
The market is external to the work, but it is the work’s interiority that is its value.
The fulfilment of neoliberalism’s fantasies in art would be if the market reached into the work. I don’t think that would be a good thing…
“it is the work’s interiority that is its value.”
Pun intended or no?
“it is the work’s interiority that is its value.”
Pun intended or no?
This is an interesting observation. We’re talking controversial art and artists — Schneemann of course having a history of being one — over on the Art21 Blog as part of our new conversational series, Flash Points. Would love to hear from you – maybe after Miami’s over? I’d be curious to hear what, if any, were some of the more provocative aspects of the fairs. From what you’ve been blogging about there, perhaps nothing has or will be. Let’s talk about it.
This is an interesting observation. We’re talking controversial art and artists — Schneemann of course having a history of being one — over on the Art21 Blog as part of our new conversational series, Flash Points. Would love to hear from you – maybe after Miami’s over? I’d be curious to hear what, if any, were some of the more provocative aspects of the fairs. From what you’ve been blogging about there, perhaps nothing has or will be. Let’s talk about it.
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