"Ghada Amer was born in Cairo in 1963; she now lives and works in New York. Viewing Amer's hand-embroidered paintings, with their delicate traceries of stray threads, involves a visual shift, as what appears to be a mass of abstract lines gradually comes into focus as highly ero
tic figures, displayed in a repetitive pattern. The work refuses to bow to the puritanical elements of both Western and Islamic culture, and what could be called "institutionalized feminism," with its own persistent myth of feminine virtue."
"queried the notion of a single, knowable femininity and flaunted the artifice of both femininity and representation itself." Art of Reflection, Chapter 3
"I paint myself because I am often alone and I am the subject I know best."
"The Reincarnation of Saint-Orlan, which started in 1990, involved a series of plastic surgeries in the course of which the artist started to morph herself with respect to some of the most well known historical paintings and sculptures. Supported by her Carnal Art manifesto, these works were filmed and broadcast in institutions throughout the world, such as the Centre Georges Pompidou in Paris and the Sandra Gehring Gallery in New York. Orlan's goal in these surgeries is to acquire the ideal of beauty as suggested by the men who painted women. When the surgeries are completed she will have the chin of Botticelli’s Venus, the nose of Gerome’s Psyche, the lips of François Boucher’s Europa, the eyes of Diana from a sixteenth-century French School of Fontainebleu painting and the forehead of Leonardo da Vinci’s Mona Lisa. Orlan picked these characters, “not for the canons of beauty they represent… but rather on account of the stories associated with them.” Diana because she is inferior to the gods and men but is leader of the goddesses and women; Mona Lisa because of the standard of beauty, or anti-beauty, she represents; Psyche because of her fragility and vulnerability within the soul; Venus for carnal beauty; Europa for her adventurous outlook to the horizon, the future."
is best known for his live performances, which he began to make in the mid-nineties. He has described these acts as focusing on the visceral “where the body is a canvas and an unmediated site for representation of the sacred, the beautiful, the untouchable, the unspeakable and for the pain, the love, the hate, the loss, the power and the fears of the human condition.”
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