blood in art

Ebb, 1996 – By Amy Jenkins

Originally trained as a photographer, United States artist Amy Jenkins began using video as a static element within her practice. Jenkins’ more recent works use sculpture and video installation to displace notions of space and object. In Ebb (1996) a miniature bathtub begins as a fount of bloody water, which is projected onto its porcelain surface. Jenkins creates a four-minute loop where a woman (the artist) climbs into the tub and the blood flow acts like a receding tide into her body, in effect reversing the menstrual flow. Ebb refers to receding menstruation, a soaking up of life force and an internal receiving.(1) It is a process of purification in reverse. The artist fortified by her transfusion, submerges herself, then steps out of the bath and disappears, leaving the viewer alone temporarily in the dark void of the gallery space.

(1) Ebb has a companion work Flow (2005), a nine-minute time-lapse over nine months of pregnancy, (one minute per month). Flow “is an allegory for the act of creating, or bringing forth form the self.” Amy Jenkins. “Flow, 2005.” Artist Website. Amy Jenkins.net. Accessed July 2, 2012. http://www.amyjenkins.net/video%20pages/flow.html.

Amy Jenkins, Ebb, (1996), Video projection on miniature ceramic tub and tiled pedestal, audio; sculpture dimensions: 14h x 20w x 26d”; original running time: 4 minutes

Amy Jenkins, Ebb, (1996), Video projection on miniature ceramic tub and tiled pedestal, audio; sculpture dimensions: 14h x 20w x 26d”; original running time: 4 minutes

 

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Red Flag, (1971) – Judy Chicago

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Judy Chicago’s representation of a used tampon in her photographic lithograph, Red Flag (1971) is characteristic of the American feminist objective. [1] She elaborates, “I wanted to validate overt female subject matter in the art community and chose to do so by making “Red Flag” as a handmade litho, which is a high art process, usually confined to much more neutralized subject matter. By using such overt content in the form, I was attempting to introduce a new level of permission for woman artists. It really worked.”[2] At the time, she exhibited this work, some members of the audience assumed that it was a ‘blooded penis’. In response, Chicago commented that such confusion was “a testament to the damage done to our perceptual powers by the absence of female reality”.[3] The practice of ‘menstrual denial’ was what Chicago was trying to abolish. In hindsight, the notion that the lithograph is something other than what it depicted, a blood soaked tampon, seems strange. However, given the widespread attitude towards menstruation as unspeakable and unshowable, it is logical to posit that this was one of the first images that depicted this routine action that women know intimately so well[4] yet is so visually absent in western culture.

[1] Chicago had arranged for Hamrol to take a picture of her pulling out a bloody Tampax and print a photograph from which the lithographers would make a working negative.

[2] Delaney, J., M. J. Lupton, and E. Toth. The Curse: A Cultural History of Menstruation. New York: EP Dutton and Co. Inc, 1976, p. 275. It may have worked well in the 70s however, in post-modern society, women need to be more creative with the ways in which they explore menstruation.

[3] Rosewarne, L. Periods in Pop Culture: Menstruation in Film and Television. Lexington Books, 2012, p. 168.  See also, Bobel, Chris. New Blood Third-Wave Feminism and the Politics of Menstruation. New Brunswick, N.J.: Rutgers University Press, 2010, p. 47.

[4] Delaney, Lupton, & Toth, 1998, p. 275.