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Erwin Wurm One Minute Sculpture 1997 Silver dye bleach print Albertina, Vienna

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Rebecca Horn, Cockatoo Mask, 1973 (stills from Cockfeather Mask Perfomance II)

Horn described using this mask in a performance exploring ideas of sexual availability and intimacy: ‘My face is covered by two intertwined, closed feather wings. The person standing before me touches the feathers delicately, then separates and opens the wings. The spread wings stretch like long bird wings, and softly enclose around [both] our heads. The feather-enclosure isolates our heads from the surrounding environment, and forces us to remain intimately alone, together.’ The use of the mask is deliberately ambiguous and the performance implies a tension between tenderness and aggression. (Text Via)

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Dona-Arbre [Woman-Tree] - Fina Miralles

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Boston Pride ‘96 | Carla Osberg

In 1996, the Boston chapter of the Lesbian Avengers pushed a bed along the route of Boston Pride. During the march, members climbed on the bed and kissed and caressed through the streets. The goal was to create a blatant image of lesbian sexuality for public consumption as both an artistic and a political act, and make a statement about dominant hetero-normative rhetoric surrounding sex and sexuality.

The act caused a scandal, now known as "bedgate” which led to Pride organizers, news outlets, and even the mayor of Boston denouncing it as “distasteful and irresponsible”. The Boston Dyke March commission released a statement following the backlash, asserting “When we permit straights in suits to define us, chastise us or credit our good behavior, we lose power and the qualities that make us beautiful.”

The full statement by Lesbian Avenger Heather Janules can be read here.

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SEAN MUNDY / “CYCLES” / 2020

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Ana Mendieta,  Silueta Series (Tree of Life Series), 1978

Lifetime color photograph  

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Valie Export - Body Configurations

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Pinar Yolaçan, from Perishables, 2007

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Rebecca Horn, Gleichzeitig die Wände berühren (Scratching Both Walls at Once), 1974

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Marina Abramović, Nude in the Cave, 2005

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CHARLES RAY / PLANK PIECE I & II / 1973 [gelatin silver print mounted on board, in 2 parts | 40 x 27″]

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ingela ihrman

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Red Summit Pregnant - Poppy Jackson

SUMMIT challenges current societal attitudes towards the pregnant body and unpacks their origins whilst celebrating pregnancy as a source of power rather than weakness.  Jackson is using her pregnancy to tackle the current crisis in pregnancy and birth practices and the cultural distrust in natural female bodily ability and autonomy affecting them. SUMMIT journals and shapes this incredible period in the artist’s life both personally and artistically.

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Charlotte Moorman / Nam June Paik, Human Cello, 1965

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Nancy Holt, Sun Tunnels, 1973–76 — detail of one of three views published alongside her essay on the work in Artforum in April 1977.

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Allison Wiese. Untitled. 2014.

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Anna Reivilä, Bond