georgy girl 2016

cunt prints – a collec­tion of works:

georgy girl: 2 series of 10 gouache body prints on paper – each sheet 100100 cm

Series 1: 15 prints, gouache colours: cadmium red hue, purple magenta and cobalt green deep on water­colour paper (natural white, acid-free, light­fast) (work in progress)

Series 2: 15 prints, gouache colours: Delft blue, cadmium red deep, helio green bluish, Prussian blue on water­colour paper (natural white, acid-free, light­fast) (work in progress)

Insur­ance value (20750,00) 15,000 Euros

Series 3: Special Edition of 5 with all afore­men­tioned gouache colours – 2432 cm

Insur­ance value each 600,00 Euros

georgy girl is a further series of cunt prints — body prints — that are this time centred in design. The title, based on the 1966 British film (founded on a book by Margaret Forster and directed by Silvio Nariz­zano) about a young inde­pen­dent woman and her emotional devel­op­ment towards adult­hood, also alludes to Georgia O’Keeffe (1986) and her extra­or­di­nary flower paint­ings, which Judy Chicago paid tribute to in The Dinner Party” exhi­bi­tion of 1979.

In the 1970’s, femi­nist critics and artists declared her art uniquely female because of her central­ized forms, constructed,” in the words of Judy Chicago and Miriam Schapiro, like labia of the vagina.”1

Art histor­i­cally georgy girl also points towards Gustave Courbet’s painting L’Origine du monde” (1866) and André Masson’s panel cover L’Origine du monde ou Terre érotique” (1955), which both depicted the female sexual organs.


She rejected the inclu­sion of her art in the 1970’s femi­nist canon of central­ized core imagery, and sided with those who consid­ered biolog­ical essen­tialism a misguided approach to women’s art. O’Keeffe, in short spent decades rejecting expla­na­tions of her flower imagery as sexu­al­ized embod­i­ments of the female body, suggesting that these inter­preters, male and female alike, were merely imposing their own psycho­sexual obses­sions on her benign, deco­ra­tive images.

O’Keeffe’s contin­uous denials have resulted in differing opin­ions among art histo­rians, critics, and even the artist herself, whose private letters suggest more ambi­guity than her public state­ments. Art histo­rian Anna C. Chave, for example, argued that the artist delib­er­ately devel­oped a (woman’s) language of desire”, to capture what O’Keeffe iden­ti­fied as the unknown.” Rather than rendering the human body, Chave believed that O’Keeffe portrayed abstractly …her expe­ri­ence of her own body” and her own desires through voids, canyons, crevices, slits, holes, voids, and soft, swelling forms. Chave further asserted that O’Keeffe’s art embodied her child­less­ness, her empty womb, as well as a sense of plen­ti­tude and grat­i­fi­ca­tion.” As Wanda Corn explained, her pronounced use of unfolding petals, eroti­cized stamens, and myste­rious centers encour­aged viewers to read in these works …sensuous body parts, espe­cially those of female anatomy and male penetration.”

O’Keeffe indeed may have consciously intended to evoke such asso­ci­a­tions. She wrote in 1916, The thing seems to express in a way what I want it to …it is essen­tially a woman’s feeling”; later in 1925, she wrote that a woman …might say some­thing that a man cant (sic) – I feel that there is some­thing unex­plored about woman that only a woman can explore.” In 1930, she stated, I am trying with all my skill to do painting that is all of a woman, as well as all of me.” O’Keeffe’s inten­tions (albeit vaguely expressed) thus inter­sect with interwar discourse concerning women’s feel­ings, atti­tudes, and sexu­ality.2

Whether or not O’Keeffe’s flower paint­ings were intended as essen­tialist repre­sen­ta­tions of woman, they have certainly become femi­nist icons — the artist gained outstanding recog­ni­tion, with her painting Jimson Weed/​White Flower No. 1” when it was sold for a fortune, in 2014.3

In 1955, the psychol­o­gist Jacques Lacan acquired Gustave Courbet’s painting L’Origine du monde” (1866) that depicted a naked woman’s torso with legs spread. This provoca­tive oil was concealed in his apart­ment behind a contem­po­rary image of the same subject, a painting by André Masson that Lacan commissioned.

Courbet’s painting has become canon­ical, having been accepted by the French from the Lacan estate, in lieu of tax, in 1995. (…) it almost looked offi­cial, whereas Masson’s cover, known as Terre érotique (“Erotic Land”), showing the same view of a woman’s private parts but playing calli­graph­i­cally on the idea of the body as a land­scape, retained a sense of titil­la­tion. The terra­cotta-coloured panel was designed to slide back, so that Lacan’s visi­tors were treated to a drama of unveiling. This kept alive the prac­tice tradi­tion begun by the Origin’s first owner, the Ottoman ambas­sador Khalil-Bey, who hung the Courbet in a lava­tory, behind a green curtain. And it has been learnedly suggested that this green curtain (blas­phe­mously enough) was a refer­ence to the fictive green curtain in Raphael’s Sistine Madonna. The Masson cover remains in a private collec­tion, while the Courbet belongs to the Musée d’Orsay.”4

L’Origine du monde” and Masson’s panel cover l’Origine du monde ou Terre érotique” (1955) were objec­ti­fied images of a woman without an iden­tity — name­less and disem­bodied gener­al­i­sa­tions of woman­hood, depicted by male artists. While these pictures exploded a prohi­bi­tion (the expo­sure of a woman’s sexual member in artwork) and were there­fore inno­v­a­tive, the cunt prints are a femi­nist inves­ti­ga­tion, de-mysti­fying a remaining social taboo, because they have been produced by a woman — the female gaze addresses herself.

georgy girl are orna­mental cunt prints; the marks do not clearly convey the subject matter but in the manner that a finger print embodies and repre­sents the whole person, these are repre­sen­ta­tions of woman­hood. Within the inten­tion however, is also a coded refer­ence to the abuses of women — the artwork touches on the manner in which women and their sexu­ality are still regarded and controlled in some parts of the world. georgy girl was produced following an invi­ta­tion to partic­i­pate in a group exhi­bi­tion organ­ised to raise funds for a hospital ward — The Desert Flower Centre of Wald­friede Hospital, Berlin- where victims of Female Genital Muti­la­tion are treated.

1 P. 127 – 8 Art and the Crisis of Marriage: Edward Hopper and Georgia O’Ke­effe — Vivien Green Fryd

2 Ibid 1

3 A floral painting by the late US artist Georgia O’Ke­effe has sold for $44.4m (£28.8m) at auction, setting a record for an artwork by a female artist. Analysis by Will Gompertz, BBC Arts Editor 21 November 2014


4 James Fenton, private view, The Guardian, Saturday 8 March 2008


Group Exhi­bi­tions

2016 (1619.9) Tanya Ury presents georgy girl, no 5 of the 3rd cunt prints’ series (2432 cm gouache body prints on water­colour paper), in A Rose is a Rose”, the fundraising group exhi­bi­tion supporting women patients suffering from Female Genital Muti­la­tion (FGM), who are being treated at the Wald­friede Hospital, Berlin. The event takes place during Berlin Art Week, at Wald­friede Hospital’s Desert Flower Centre, Berlin (D)



2016 georgy girl no. 2 of the 3rd special edition, 2432 cm, gouache body prints on paper, in private collec­tion of Thanh Minh Nguyen, Cologne (D)

2016 (1619.9) Tanya Ury presents georgy girl (cunt prints), no 5 of the 3rd series (2432 cm gouache body prints on water­colour paper), in A Rose is a Rose”, the fundraising group exhi­bi­tion supporting women patients suffering from Female Genital Muti­la­tion (FGM), being treated at the Wald­friede Hospital, Berlin. The event takes place during Berlin Art Week, at the Desert Flower Centre of Wald­friede Hospital, Berlin (D)

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