cunt prints – a collection of works:
cunt prints: 2 series of gouache body prints on paper – 30 sheets 24 x 32 cm
Series 1: 15 prints, gouache colours: medium yellow, leaf green, red orange, blue lake, brilliant red, on watercolour paper (natural white, acid-free, lightfast)
Series 2: 15 prints, gouache colours: turquoise bluish, crimson, ultramarine, lilac, burnt sienna
Insurance value (30 x 500,00) 15.000 Euros
Framing: maple, glazed white, with spacer strip
The original cunt prints, series 1 & 2, which were produced on Xmas Eve 2013 are a celebration of femininity, at a time in life, when it is apparently considered taboo for a woman to flaunt her sexuality, to show her colour beyond the menopause.
The inspiration came after observing my cunt prints from vaginal fluid and/or semen on dark shaded bed sheets, sometime during 2011, the year in which I turned 60; and I imagined such cunt prints, like fingerprints, an essential part of me, would be impressive as a stylised artwork. Like lipstick, lip prints on a serviette, collar or, love-letter, these cunt prints are a fleeting sign that one has lived.
Testing the idea out by mentioning it to a couple of male friends in their forties, the reaction of exasperation from both caused me at first to doubt the credibility of the project, but it also reassured me of the importance of such a feminist statement. There is a history of body painting and body prints, the most memorable being Yves Klein’s blue body prints, of women in the late 50’s early 1960’s.1
Despite the IKB paintings being uniformly coloured, Klein experimented with various methods of applying the paint; firstly different rollers and then later sponges, created a series of varied surfaces. This experimentalism would lead to a number of works Klein made using naked female models covered in blue paint and dragged across or laid upon canvases to make the image, using the models as “living brushes”. This type of work he called Anthropometry2.3
In her Website blog of 2011, Kirstin Russell, of the Walker Art Centre in Minneapolis (USA) cites Yves Klein’s own attempt to explain his use of the female nude:
Certainly the entire body consists of flesh, but the essential mass is the trunk and thighs. It is there that once finds the true universe hidden by our perceptions.4
This is the perception of a male artist who, while creating innovative artwork, did not call into question the objectification of a woman by exploiting her for art purposes.
“In 1976 (…) Lucy Lippard addressed the continuing broad dismissal of woman’s art work: “Men can use beautiful, sexy women as neutral objects or surfaces, but when women use their own faces and bodies, they are immediately accused of narcissism”.5
With cunt prints a “model” creates her own body prints, moreover from between the thighs, where a “true universe hidden by our perceptions” is revealed.
2 For example Anthropométrie de l’Époque bleue (2’26)
March 9, 1960
Galerie internationale d’art contemporain
253, rue Saint Honoré, Paris, France www.yveskleinarchives.… “Anthropometry (Greek anthropos (άνθρωπος — “man”) and metron (μέτρον — “measure”) therefore “measurement of man”) refers to the measurement of the human individual” en.wikipedia.org/wiki/…
5 Rebecca Schneider, p. 35 “The Explicit Body in Performance”, New York Routledge 1997, quoted in Performing the Jewish Body in Contemporary Germany by Juliette Brungs, 2013, (unpublished) dissertation at the University of Minnesota (USA)
2016 (21.5−30.6) Tanya Ury’s cunt prints 2013 — presented for the first time are 2 framed series of 30 glowing gouache body prints on paper. THANK SHOWS ART in the clothes boutique, Marsilstein 2, 50676 Cologne (D)
2016 (21.5.) A performance of improvised poetry and music (Tanya Ury – texts in German and English – Kasander Nilist on double bass) will take place at the opening on 21st May at 2pm 4pm and 6 pm. THANK SHOWS ART in the clothes boutique, Marsilstein 2, 50676 Cologne (D)