Carnal
Art: Orlans Refacing
by
C. Jill OBryan
University of Minnesota Press, Minnesota,
MN, 2005
216 pp, illus. 29 b/w, 25 col. Trade,
$74.95; paper, $24.95
ISBN: 0-8166-4322-9; ISBN: 0-8166-4323-7.
Reviewed by Rob Harle (Australia)
harle@dodo.com.au
This is a very important book.
Although the subject is the controversial,
and in some peoples eyes, shocking
art of French feminist artist [Saint]
Orlan, it is much, much more. The book
is paradoxically enjoyable and infuriating
at the same time. It is hard to imagine
a more sensitive or empathetic exploration
of Orlans work. In other words,
OBryans analysis resonates
harmoniously with her subject, neither
denigrating nor eulogising her.
Carnal Art: Orlans Refacing
is meticulously researched and extremely
well writtenconsidering the epistemological
difficulty of some sections of the discourse,
it is an easy and pleasurable read. The
text is accompanied with both black &
white and colour photographs, some of
which are not for the faint hearted. Even
if you have no trouble viewing normal
medical procedures, some of the images
will probably disturb you, partly because
of the context and partly because of the
subject matter.
Orlans art is somewhat hard to define
precisely. She is, "...a multimedia
performance artist who places her body
into the center of beauty technology in
order to expose and question those techniques
of gender that simultaneously construct
and discipline beauty-conscious
female identity" (p. 20). Most of
her performances occur in a hospital operating
theatre, involving deconstruction
and reconstruction of her face, and essentially
require equipment such as video cameras
and film crews. All performances are transmitted
to the public and are strictly controlled
by Orlan, who is conscious during the
procedures having only local anaesthetic.
Having had facial surgery in an operating
theatre with only local anaesthetic myself,
I can assure the reader it is not something
one would do for fun.
Orlan must be very serious and dedicated
to her art or be very seriously mad to
undergo these procedures. "Consciousness
[in the operating theatre] is her [Orlans]
ultimate weapon against psychoanalysis.
It allows her to preclude a diagnosis
of psychological illness" (p. 104).
The charge of madness has been raised
by some of Orlans more severe critics.
I believe this is an important and valid
question to ask. OBryan discusses
this at various times throughout the book,
and it appears that Orlan is very much
in control of her life and her art. I
do not think, from OBryans
discussion at least, that the charge of
madness is valid. Not only for the abovementioned
psychoanalytical reason (after all many
insane people inflict severe pain upon
themselves while consciously doing so),
but specifically because Orlans
work, like many other artists, has evolved
over a long period of time, involves steady
considered planning and complex logistical
organization.
There are one or two parts in this book
that are infuriating and tend to mar an
otherwise excellent scholarly work. These
are when OBryan seeks the support
of other feminist writers and quotes them
at length. Specifically, (briefly) quoting
Straayer, "I suggest that most if
not all women do want to be men..."
(p. 101)a totally unsupported, unscholarly
feminist, stereotypical speculation. Further,
Doane, "Most specifically, it is
the possession of the male gaze"
(p. 104). This discussion concerning Orlan
temporarily obliterating any reference
to her gender when the skin of her face
is removed by the surgeon (and shown at
extreme close-up), does not only prevent
possession by a male gaze but prevention
of any gaze, including for example,
her mothers or a female best friend.
A little further on OBryan recognises
this herself, "What is represented
[by the face] is the fragility of identity"
(p.106).
The book has an Introduction (Shape-Shifting),
seven chapters as follows: 1Orlans
body of Work; 2Looking Inside
the Human Body; 3Between
Self and Other; 4Interior/Exterior;
5Beauty/The Monstrous Feminine;
6Penetrating Layers of Flesh:
Carving in/out the Body of Orlan;
7A Few Comments on
Self-hybridations . FinallyEXTRActions,
a Performative Dialogue "with"
Orlan. This section while rather short
is a pithy discussion between OBryan
and Orlan.
This is a provocative book, raising important
questions and challenging status quo prejudices
on many fronts. Some of these includethe
validity of the feminist psychoanalytical
critique; the validity of many aspects
of feminism itself; the authenticity
of privileged bourgeois artists (such
as Orlan) taunting the very bourgeois
society that enables her to create her
art; the efficacy (as art) of extreme
(unnecessary?) bodily modification when
in many countries essential life saving
surgery is unavailable. These above questions,
some raised unintentionally throughout
Carnal Art, are what makes the
book so interesting and important in
addition to the exposition of Saint
Orlan and her art.