MEMORIES OF BEING: ORLAN'S THEATER OF THE SELF, David Moos*, Art + Text 54 (1996), pp. 67-72
www.stanford.edu—Orlan.html
Consider Orlan's performance activity as a kind of "virtual mirror." How does the alteration of her own body suggest the presence of an all-encompassing interactive mirror?
Remember to post your response on Tuesday evening for discussion on Wednesday.
Monday, March 29, 2010
Subscribe to:
Posts (Atom)