TITLE_NAME :
Eye Body Atong Atem, Poulomi Basu, Juliana Cerqueira Leite, Juno Calypso, Daisy Collingridge, Rose English, Rosie Gibbens, Sam Keelan, Gabby Laurent, Mitchell Moreno, Haley Morris-Cafiero, Trish Morrissey
29/03/2023 - 29/04/2023
TJ BOULTING
TJ Boulting is delighted to present a group show of performance and photography, where the artist is present in both. The title comes from the 1963 series by Carolee Schneemann Eye Body: 36 Transformative Actions for Camera where the artist looked at the idea of being both the image and image-maker, seeing and being seen, eye and body. Eye Body looks at how artists variously use their own performance and self image, while exploring identity, feminism, gender, queerness, body image, activism, humour and personal history.
Schneemann’s use of her own body was an important subversion of how the female body was perceived as objectified by men, and as such put her firmly within feminist art history. Similarly Rose English, today one of the most renowned and influential artists working with performance, is grounded in the feminist scene of the 1970s. Her two works in the exhibition from 1974 display the fetishisation around the female body, in one the artist sits naked in the saddle wearing a horse’s tail, in the other followed by a line of small white porcelain horses. It subverts a very British type of conformity whilst being playfully humorous. These works were the forerunners to her seminal performance Quadrille in 1975 where six female dancers infiltrated Southampton Horse Show and performed a routine dressed in hoofed shoes and tails, much to the bemusement of the non-art audience.
29/03/2023 - 29/04/2023
TJ BOULTING
TJ Boulting is delighted to present a group show of performance and photography, where the artist is present in both. The title comes from the 1963 series by Carolee Schneemann Eye Body: 36 Transformative Actions for Camera where the artist looked at the idea of being both the image and image-maker, seeing and being seen, eye and body. Eye Body looks at how artists variously use their own performance and self image, while exploring identity, feminism, gender, queerness, body image, activism, humour and personal history.
Schneemann’s use of her own body was an important subversion of how the female body was perceived as objectified by men, and as such put her firmly within feminist art history. Similarly Rose English, today one of the most renowned and influential artists working with performance, is grounded in the feminist scene of the 1970s. Her two works in the exhibition from 1974 display the fetishisation around the female body, in one the artist sits naked in the saddle wearing a horse’s tail, in the other followed by a line of small white porcelain horses. It subverts a very British type of conformity whilst being playfully humorous. These works were the forerunners to her seminal performance Quadrille in 1975 where six female dancers infiltrated Southampton Horse Show and performed a routine dressed in hoofed shoes and tails, much to the bemusement of the non-art audience.