above, tiny love bites. below, nicole eisenman’s image, at the whitney biennale, which we continue to laugh at 2 weeks later. 

"somatic language speaks in metonymy…integrates mind and body…talks back…it is spoken in the second person and in the imperative; it implicates the viewer in performances where the body is shared…[it] begins with unbinding one’s mouth."

jane blocker, what the body cost: desire, history, and performance 

"you want hysteria? i’ll give you hysteria."

karen finley, a certain level of denial

"a hysterical woman is a woman who has lost a sense of the boundaries between sign and signified—the supposedly arbitrary signifier and the supposedly distanced signified lose both their mark of randomness and their distance as they are collapsed onto the space of her body…in the logic of hysteria, all things mark."

rebecca schneider, the explicit body in performance 

bbyear:

Stolen resolutions from Sophie Calle’s Appointment at the Freud Museum, 1999. 

fette:

Top, Dorothea Tanning, Eine Kleine Nachtmuzik, 1943, oil on canvas, 40.7 x 61 cm. Via. Bottom, screen capture from Possession, 1981, directed by Andrzej Zulawski. Via.

“it’s just so visceral.” always. 

mikkipedia:

karaj:

yuckytuna:

emmacooper:

Trademarks from September 1970, by Vito Acconci, scanned from Avalanche magazine, Fall 1972. Acconci’s text: “Biting myself: biting as much of my body as I can reach. Applying printers’ ink to the bites; stamping bite-prints on various surfaces.”

(via publiccollectors)

“the liquidity of that saliva indicates more than an image, more than the act of marking. [kathy] o’dell describes it as ‘a visual analogue for tears.’ she explains that ‘the repeated biting simulates attachment and separation from the body of the maternal figure—which is to say, from her skin.’”—jane blocker, what the body cost: desire, history, and performance 

hannah wilke, sos mastication box, 1975

thinking about feminist body art, orality, and this.