{"id":897,"date":"2024-02-06T13:46:00","date_gmt":"2024-02-06T13:46:00","guid":{"rendered":"https:\/\/bethanhemus.art\/?p=897"},"modified":"2025-09-24T12:41:57","modified_gmt":"2025-09-24T12:41:57","slug":"critical-studies-essay-taste-and-transgression","status":"publish","type":"post","link":"https:\/\/bethanhemus.art\/?p=897","title":{"rendered":"Critical Studies Essay: Taste and Transgression"},"content":{"rendered":"

Transgression
\nand Taste<\/span><\/b><\/p>\n

 <\/span><\/b><\/p>\n

\u2018Transgression does not deny the taboo
\nbut it transcends and completes it.\u2019<\/span><\/b><\/p>\n

Georges Bataille \u2013 Eroticism, 1986<\/span><\/b><\/p>\n

 <\/span><\/b><\/p>\n

I
\nam interested in considering if being transgressive adds value to a piece of
\nart, because this is something I find myself being drawn to exploring in my own
\nwork. Transgression requires the consideration of a cultural social line in the
\nsand about taste and what is and isn\u2019t acceptable. But this line is relative
\nand constantly in flux; it is dependent on context influences like time,
\nlocation and the social group(s) being included in the discussion.<\/span><\/p>\n

 <\/span><\/p>\n

The
\nancient Greeks had a strong focus on homoeroticism and their whole society was
\nvery male centric. Women were considered equivalent to slaves and men were considered
\nequal and compatible sexually because they had a biological and cultural understanding of one another. These
\nattitudes were challenged by the onset of Christianity, which morally condemned
\nand repressed homosexuality. It is only recently, and only in certain parts of
\nthe world, that we see open queerness being normalized and celebrated once
\nmore. This is a historic example of how ideas of transgression are fluid. That something can be acceptable or unacceptable, depending on the social
\nconstructs of the time.<\/span><\/p>\n

 <\/span><\/p>\n

A quality
\nof this fluidity is that there is a subtle language and visual script around what
\nis considered transgressive. And it is the duty of the rebellious artist, the
\nartist who wants to engage in currently relevant conversation and achieve impact by being transgressive, to
\ninterpret this language, to find these lines in the sand, explore and then exceed
\nthem where necessary.<\/span><\/p>\n


<\/span><\/span><\/p>\n

<\/span><\/a><\/div>\n


<\/span><\/p>\n

<\/span><\/a><\/div>\n
\u2018Artist\u2019s
\nShit\u2019, <\/span>Piero
\nManzoni, <\/span>1961<\/span><\/span><\/div>\n


<\/span><\/p>\n

This
\nkind of art usually focuses on sensitive themes such as violence, sex and
\nreligion. These themes aren\u2019t normally depicted in a literal way. It is arguable that t<\/span>here are
\ntwo clear artistic approaches to taste and transgression. Either
\nthe visual evidence presented is offensive or challenging in some way, for
\nexample \u2018Artist\u2019s Shit\u2019 by Piero Manzoni where the medium is literally cans of the artist\u2019s feces. Or, the art actively seeks to push buttons in an attempt to illuminate and or shift
\npublic opinion, for example \u2018Olympia\u2019 by \u00c9douard Manet which played with
\nsocietal boundaries by representing a woman masturbating as an empowered sex
\nworker. So much so that it required a police guard to prevent vandalism when it
\nwas first exhibited.<\/p>\n


<\/span><\/p>\n

<\/span><\/a><\/div>\n

\u2018Olympia\u2019, <\/span>\u00c9douard
\nManet, <\/span>1856<\/span><\/span><\/p>\n

 <\/span><\/p>\n

When looking at this kind of art, we can reflect on whether the artist is being transgressive in their materials choice, through what they are representing, or both.<\/span><\/p>\n


<\/span><\/div>\n

It
\nis often employed as a creative choice by artists who want to affect positive
\nshifts in individual and collective attitudes. A contemporary example of this
\nis Grayson Perry, who explores his childhood trauma and scripts around male
\nbehavior through artwork and public performance including cross dressing. His
\npublic embracing of transvestitism has been hugely powerful and he is
\ncelebrated as such because he has fuelled debate and helped public attitudes be
\nless harming and more inclusive in this area. In this way, I believe that transgression
\ncan be merit worthy.<\/span><\/p>\n

 <\/span><\/p>\n

<\/span><\/a>
<\/span><\/span><\/div>\n
‘Rosetta Vase\u2019, <\/span>Grayson Perry, <\/span>2011<\/span><\/span><\/div>\n

 <\/span><\/p>\n

However,
\ntransgressive art can be a creative cul de sac, because what shocked your
\naudience the first time won\u2019t shock the second because they have been
\ndesensitized. Some artists survive this by becoming more imaginative in
\ncarrying their ideas forward. But you can end up being pigeon holed as a
\nsensational artist; and this can foster cynicism around your work. <\/span><\/p>\n

 <\/span><\/p>\n

Contemporary artists consistently flip the high art narrative intentionally to be transgressive; by
\nplaying with what is and isn\u2019t classically considered noteworthy. And there is value
\nattached to this endeavour as well as the scandal it often generates. Artists frequently use sensationalism to promote
\ntheir work and escalate their price. <\/span>A good example of this is Maurizio Cattelan,
\nwho\u2019s work skyrocketed in value after \u2018La Nona Oram\u2019; an installation piece
\nthat irreverently plays with the impotence and hypocrisy of the Catholic church
\nwith the visual reference of the Pope being struck down by a meteorite as an
\nact of God.<\/span><\/span><\/p>\n

 <\/span><\/p>\n

<\/span><\/a><\/div>\n

\u2018La
\nNona Oram\u2019, <\/span>Maurizio
\nCattelan, <\/span>2016<\/span><\/span><\/p>\n

 <\/span><\/p>\n

Transgressive
\nartists often embody their work themselves and we see this most commonly in
\nbody art, a movement that started in the 1960s and still persists today. It
\nincludes a huge variety of approaches but most often, performance art or
\nactionism. It has a focus on the relationship of body and mind. <\/span><\/p>\n

 <\/span><\/p>\n

My
\npreferred example of this is body and endurance artist Marina Abramovi\u0107 who\u2019s
\nRhythm series defined the genre and it\u2019s participatory quality; with an open
\ninvitation being extended for her audience to relate, or not, to her body using
\na catalogue of objects including weapons.<\/span><\/p>\n


<\/span><\/p>\n

<\/span><\/p>\n

<\/span><\/a><\/div>\n


<\/span><\/p>\n

<\/span><\/a><\/div>\n<\/p>\n

\u2018Rhythm
\n0\u2019, <\/span>Marina
\nAbramovi\u0107, <\/span>1974<\/span><\/span><\/p>\n

 <\/span><\/p>\n

<\/span><\/p>\n

To
\nfurther explore taste and transgression, I will look at some more artists and
\ntheir relevant works now.<\/span><\/p>\n


<\/span><\/p>\n

Best
\nknown for his \u2018Great Wave\u2019, Katsushika Hokusai and his Shunga paintings are an
\nexcellent example of early transgressive art. It is erotic and humorous and intends
\nto explicitly depict sexual acts, including female gratification, which was as rare
\nat the time as it is today. The government attempted to ban his works repeatedly but
\nthis verboten quality only added to their popularity and they were allegedly secretly
\ncherished and shared by families and lovers because of their humor but also
\nbecause they facilitated healthy conversations about sexual intimacy.<\/span><\/p>\n

 <\/span><\/p>\n

<\/a><\/span><\/div>\n

\u2018The
\nDream Of The Fisherman\u2019s Wife\u2019, <\/span>Katsushika
\nHokusai, <\/span>1814<\/span><\/span><\/p>\n

 <\/span><\/p>\n

Picasso\u2019s
\n\u2018La Reve\u2019 subtly portrays his mistress masturbating while dreaming of his penis.
\nNot so subtly hiding an abstraction of his penis in his lovers face was extremely
\nrisqu\u00e9 for the time and still feels like a pretty dick move.<\/span><\/p>\n

 <\/span><\/p>\n

<\/span><\/p>\n

<\/a><\/span><\/div>\n

\u2018La Reve\u2019, <\/span>Pablo Picasso, <\/span>1932<\/span><\/span><\/p>\n


<\/span><\/p>\n

Marcel
\nDuchamp is best known for his urinal piece, but I wanted to look at his assemblage<\/span> \u2018<\/span>\u00c9tant
\nDonn\u00e9s\u2019, which requires his audience to look at a disconcerting painting
\nthrough a pair of peepholes in a door, creating a sense of being a disempowered
\nvoyeur to an ambiguous scene that has undertones of a crime scene. It is
\ntransgressive in physical construct because it is forcing challenge around the
\ntraditional relationship that audience has with paintings and viewing them. And
\nit was the absolute opposite of what a lot of his contemporaries were doing at
\nthe time which again makes it sensational.<\/span><\/span><\/p>\n


<\/span><\/p>\n

<\/span><\/p>\n

<\/span><\/a><\/div>\n

<\/span><\/div>\n
<\/a><\/span><\/div>\n

\u2018<\/span>\u00c9tant Donn\u00e9s\u2019, <\/span>Marcel
\nDuchamp, <\/span>1966<\/span><\/span><\/p>\n

 <\/span><\/p>\n

War
\nart is endemically transgressive because of its subject. A clear example of
\nthis is Francisco de Goya\u2019s \u2018Los Desastres de la Guerra\u2019 which took around 50
\nyears to be printed, so sensational and horrific was it considered. In it\u2019s
\nattempts to lay bare the grisly truth of war.<\/span><\/p>\n

 <\/span><\/p>\n

<\/a><\/span><\/div>\n

<\/span><\/div>\n

Damien Hirst rebels and does not emulate the art world\u2019s requirements, rather
\nchoosing to present as an everyman. In this way he is good at self-branding as
\nthe transgressor and this choice has gained him even more notoriety. One of his
\nmost famous pieces \u2018The Physical Impossibility of Death in the Mind of Someone
\nLiving\u2019 explores exactly what the title suggests; the challenge of being human
\nand grappling with existential crisis like death. <\/span><\/p>\n

 <\/span><\/p>\n

<\/a><\/span><\/div>\n

\u2018The
\nPhysical Impossibility of Death in the Mind of Someone Living’, <\/span>Damien
\nHirst, <\/span>1991<\/span><\/span><\/p>\n

 <\/span><\/p>\n

Looking
\nat our limited ability to conceive of death and the fears we hold around it culturally
\nas a concept is a really relatable topic; it is one of the great unifiers
\nbecause it happens to us all. He created this installation, which displays an
\niconic apex predator that still looks alive and as if it is swimming towards
\nyou. A thing that brings death, that is in fact already dead itself even though
\nit has been manipulated and displayed to look alive. <\/span><\/p>\n

 <\/span><\/p>\n

What
\nhe is talking about is really important thematically and his transgressive
\napproach gives the conversation buckets of impact and depth.<\/span><\/p>\n

 <\/span><\/p>\n

While
\non the subject of things suspended in formaldehyde, it feels pertinent to
\nmention the Chinese conceptual artist Xiao Yu whose piece \u2018Ruan\u2019 raises a discussion
\nabout science, genetic modification and how dangerous and complicated that area
\nis using really graphic medium. Reading his statements about what he makes yields the truth that it is because<\/i> of his care and respect for the sanctity of life that he feels so compelled to create visually abhorrent version’s of it in reference to his concerns about medical ethical abuse.<\/span><\/p>\n

 <\/span><\/p>\n

<\/a><\/span><\/div>\n

\u2018Ruan\u2019, <\/span>Xiao
\nYu, <\/span>2005<\/span><\/span><\/p>\n

 <\/span><\/p>\n

Street
\nartists are transgressive because their work is illegal by definition and often
\ninvolves sensational political commentary; hence the need to often protect
\ntheir identity in order to avoid prosecution and other negative repercussions
\nfor their work. <\/span><\/p>\n

 <\/span><\/p>\n

<\/a><\/span><\/div>\n

\u2018No
\nFuture\u2019, <\/span>Banksy, <\/span>Unknown
\ndate<\/span><\/span><\/p>\n

 <\/span><\/p>\n

We
\nhave seen a rise in the popularity and commodification of street art in recent
\nyears with artist like Banksy exhibiting in gallery spaces and selling prints
\nof their work; quite a feat to have bridged the gap between alleged criminal to
\nglobally successful artist.<\/span><\/p>\n

 <\/span><\/p>\n

The
\nartist collective Led by Donkeys create politically motivated art in public
\nspaces. Their most recent installation on Bournemouth beach which included a
\nline of children\u2019s clothing laid on the sand in reference to the atrocities and
\ndeath currently happening in Gaza was their effort in appeal to cease fire and
\nhas caused as much support as it has kick back.<\/span><\/p>\n

 <\/span><\/p>\n

<\/a><\/span><\/div>\n

Gaza installation on Bournemouth beach, Led
\nby Donkeys, <\/span>2024<\/span><\/span><\/p>\n

 <\/span><\/p>\n

Cultural
\nattitude and taste evolve over time and what was once perceived as sensational
\nand radical, for example Impressionist painting, can overtime loose that
\nquality of impact. An interesting question is, is there something that is
\nultimately always going to be transgressive, regardless of the society. The
\npublic\u2019s visceral and negative reaction to \u2018Myra\u2019 by Marcus Harvey, a portrait
\nof the infamous child serial killer Myra Hindley made up children\u2019s handprints,
\nindicate that abuse and harm of children is fundamentally unacceptable and makes us deeply
\nuncomfortable to witness or be made aware of. However, this is not absolute,
\nbecause if it were then the aforementioned Led by Donkeys piece would not have
\ncause to exist. What kind of transgressive art would it take to shake us out of this collective contradiction?<\/span><\/p>\n

 <\/span><\/p>\n

<\/a><\/span><\/div>\n

\u2018Myra\u2019, <\/span>Marcus
\nHarvey, <\/span>1995<\/span><\/span><\/p>\n

 <\/span><\/p>\n

In
\nsummary, I think it is clear that transgression does have its place in the art world
\nas a tool for engagement and impact. Although what will impact any given culture
\nvaries hugely over time and place, artists clearly feel compelled to connect
\nwith this means of eliciting response for their work and the themes and topics
\nthey are trying to create dialogue about. <\/span><\/p>\n

 <\/span><\/p>\n

Ultimately
\nI believe that it is you as the artist, your supporters and the creative community
\nyou are a part of who decide whether your transgressive art has purpose and achieves
\nthe intended impact. <\/span><\/p>\n

 <\/span><\/p>\n

In
\nmy opinion, an artist trying to make sincere comment about something is valid;
\nhowever offensive or challenging it might be in medium or theme.<\/span><\/p>\n

 <\/span><\/p>\n

 <\/span><\/p>\n

 <\/span><\/p>\n


<\/span><\/p>\n


<\/span><\/p>\n


<\/span><\/p>\n


<\/span><\/p>\n


<\/span><\/p>\n

Bibliography<\/span><\/b><\/p>\n

 <\/span><\/p>\n

https:\/\/journal.media-culture.org.au\/index.php\/mcjournal\/article\/view\/781<\/a><\/span><\/p>\n

https:\/\/www.britannica.com\/topic\/aesthetics\/Taste-criticism-and-judgment<\/a><\/span><\/p>\n

https:\/\/www.bbc.co.uk\/news\/magazine-30343083<\/a><\/span><\/p>\n

https:\/\/www.thecollector.com\/georges-batailles-erotism-religion-death\/<\/a><\/span><\/p>\n

https:\/\/bmcr.brynmawr.edu\/2008\/2008.07.20<\/a><\/span><\/p>\n

https:\/\/www.tate.org.uk\/art\/artworks\/manzoni-artists-shit-t07667<\/a><\/span><\/p>\n

https:\/\/www.artribune.com\/television\/2018\/03\/video-7-artisti-commentano-piero-manzoni\/<\/a><\/span><\/p>\n

https:\/\/www.manet.org\/olympia.jsp<\/a><\/span><\/p>\n

https:\/\/www.saatchigallery.com\/artist\/grayson_perry<\/a><\/span><\/p>\n

https:\/\/www.britishmuseum.org\/collection\/object\/H_2012-8013-1<\/a><\/span><\/p>\n

https:\/\/www.tate.org.uk\/art\/artists\/sir-grayson-perry-cbe-ra-4657<\/a><\/span><\/p>\n

https:\/\/www.youtube.com\/watch?v=_Yboc75WufE<\/a><\/span><\/p>\n

https:\/\/www.smithsonianmag.com\/smart-news\/why-new-sculpture-pope-john-paul-ii-so-controversial-180975930\/<\/a><\/span><\/p>\n

https:\/\/www.huffpost.com\/entry\/post_b_6561968<\/a><\/span><\/p>\n

https:\/\/www.artsy.net\/article\/artsy-editorial-revisiting-maurizio-cattelans-sculpture-pope-struck-meteorite<\/a><\/span><\/p>\n

https:\/\/www.theguardian.com\/artanddesign\/2023\/sep\/25\/marina-abramovics-shocking-rhythm-0-performance-shows-why-we-still-cannot-trust-people-in-power?ref=upstract.com<\/a><\/span><\/p>\n

https:\/\/en.wikipedia.org\/wiki\/Marina_Abramovi%C4%87<\/a><\/span><\/p>\n

https:\/\/www.theartnewspaper.com\/2024\/01\/24\/performer-sues-moma-for-alleged-sexual-groping-during-marina-abramovic-retrospective<\/a><\/span><\/p>\n

https:\/\/www.theguardian.com\/artanddesign\/2023\/sep\/19\/marina-abramovic-royal-academy-retrospective<\/a><\/span><\/p>\n

https:\/\/www.royalacademy.org.uk\/article\/marina-abramovic-interview<\/a><\/span><\/p>\n

https:\/\/www.tate.org.uk\/art\/art-terms\/b\/body-art<\/a><\/span><\/p>\n

https:\/\/en.wikipedia.org\/wiki\/Hokusai<\/a><\/span><\/p>\n

https:\/\/artfilemagazine.com\/le-reve-by-pablo-picasso\/<\/a><\/span><\/p>\n

https:\/\/www.nytimes.com\/2017\/09\/29\/arts\/design\/now-you-see-him-now-you-dont-duchamp-from-beyond-the-grave.html?smid=pin-share<\/a><\/span><\/p>\n

https:\/\/www.toutfait.com\/marcel-duchamp-atant-donnas-the-deconstructed-painting\/<\/a><\/span><\/p>\n

https:\/\/en.wikipedia.org\/wiki\/%C3%89tant_donn%C3%A9s<\/a><\/span><\/p>\n

https:\/\/uk.search.yahoo.com\/search?fr=mcafee&type=E211GB714G0&p=goya+war<\/a><\/span><\/p>\n

https:\/\/www.bbc.com\/culture\/article\/20140717-the-greatest-war-art-ever<\/a><\/span><\/p>\n

https:\/\/www.tate.org.uk\/art\/artists\/damien-hirst-2308<\/a><\/span><\/p>\n

https:\/\/www.youtube.com\/watch?v=13ShK2UAeP0<\/a><\/span><\/p>\n

https:\/\/en.wikipedia.org\/wiki\/The_Physical_Impossibility_of_Death_in_the_Mind_of_Someone_Living<\/a><\/span><\/p>\n

https:\/\/ocula.com\/artists\/xiao-yu\/<\/a><\/span><\/p>\n

https:\/\/www.chinadaily.com.cn\/english\/doc\/2005-08\/10\/content_467851.htm<\/a><\/span><\/p>\n

https:\/\/en.wikipedia.org\/wiki\/Banksy<\/a><\/span><\/p>\n

https:\/\/www.artofthestate.co.uk\/archive\/banksy-2\/banksy_no_future\/<\/a><\/span><\/p>\n

https:\/\/www.bbc.co.uk\/news\/uk-england-hampshire-11827202<\/a><\/span><\/p>\n

https:\/\/www.ledbydonkeys.org\/<\/a><\/span><\/p>\n

https:\/\/www.instagram.com\/ledbydonkeys<\/a><\/span><\/p>\n

https:\/\/www.dailymail.co.uk\/news\/article-1048910\/Fury-image-Myra-Hindley-appears-Best-British-film-2012-Olympics-party.html<\/a><\/span><\/p>\n

https:\/\/en.wikipedia.org\/wiki\/Myra_(painting)<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Transgression and Taste   \u2018Transgression does not deny the taboo but it transcends and completes it.\u2019 Georges Bataille \u2013 Eroticism, 1986   I am interested in considering if being transgressive adds value to a piece of art, because this is something I find myself being drawn to exploring in my own work. Transgression requires the […]<\/p>\n","protected":false},"author":1,"featured_media":898,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-897","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/bethanhemus.art\/index.php?rest_route=\/wp\/v2\/posts\/897","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/bethanhemus.art\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/bethanhemus.art\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/bethanhemus.art\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/bethanhemus.art\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=897"}],"version-history":[{"count":1,"href":"https:\/\/bethanhemus.art\/index.php?rest_route=\/wp\/v2\/posts\/897\/revisions"}],"predecessor-version":[{"id":915,"href":"https:\/\/bethanhemus.art\/index.php?rest_route=\/wp\/v2\/posts\/897\/revisions\/915"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/bethanhemus.art\/index.php?rest_route=\/wp\/v2\/media\/898"}],"wp:attachment":[{"href":"https:\/\/bethanhemus.art\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=897"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bethanhemus.art\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=897"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bethanhemus.art\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=897"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}