The Physical Impossibility Of Death In The Mind Of Someone Living By Vanessa Beecroft

Art’s perpetual metamorphosis has served as a reflection of society and its culture. The rise of the postmodernist movement reshaped the art landscape and since has laid the foundation for multitudinous ingenious exploitations. In particular the rise of this new era reconstructed arts core definition. This divergence from traditional art practices birthed the rise of more creative and experimental mediums. Artists Damien Hirst and Vanessa Beecroft harnessed this newfound metamorphosis through their work. Their exploitative approach to the utilization of space defines their work and resonates through the modern art world. Both Beecroft and Hirst’s work sparks confrontation and ignites strong emotional response through the audience.

Artist

Featuring a Tiger Shark preserved in formaldehyde presented in a large glass vitrine it is without doubt Hirst’s piece sparks controversy. Described as “(Being) both dead and alive at the same time…(whilst) commanding an unnerving presence,” (CLC, 2015) the discomforting nature of the piece is easily identified. The punctilious formation of stark confronting spaces has alluded to the dramatic emotional response of Hirst’s work. The layout of the sculptural piece again builds the spaces meaning and significance. The clinical atmosphere created by Hirst’s work instantly engenders an uncomfortable space for the audience; furthermore, when connected with the disconcerting subject matter the space is fully exploited. The piece measuring 2170 x 5420 x 1800 mm inundates the environment it is located within; this overpowering nature further perpetuates discomforting nature of Hirst’s work. Hirst’s creation of overpowering confronting sculpture is similarly seen in the piece Mother and Child (Divided) 1993 (appendix d). Featuring the same overpowering nature through its deviation from traditional art practices and capturing of postmodernist devices, Mother and Child (Divided) 1993 features a calf and cow clinically bisected then preserved in oceanic blue formaldehyde presented in four large glass vitrines. This supplemental piece of

Vanessa Beecroft creates large scaled performance pieces featuring (often) naked female models; which are documented via film and photography. Beecroft’s utilization of live models gives her work an ephemeral nature. The ephemeral nature of her work integrates further depth to Beecroft’s performance pieces whilst referencing humanities mortality. Beecroft’s performance pieces, often referred to as voyeuristic, comment on contemporary culture carrying vigorous influence from Beecroft’s personal life experiences. From early adolescence Beecroft was afflicted by multiple eating disorders; which are reflected through performance pieces such as VB55 2005 (appendix A), this personal reflection causes Beecroft’s work to be “Neither performance nor documentary, but something in between,” (Curriculumsupport, 2015). Beecroft’s performance piece VB55 2005 further demonstrates and perpetuates the confrontational nature of her