ORLAN: L'Origine de la Guerre (1989)
For all his phallic bravado, I wonder what D. H. Lawrence would have made of Orlan's reimagining of Courbet's obscene masterpiece, The Origin of the World (1866), now retitled The Origin of War (1989) and featuring a close-up of the indecently exposed lower-body of a naked male - including an erect penis - rather than centring on the hairy, gaping cunt of a woman ...?
I suspect he wouldn't like it; that he would condemn it as a pornographic example of sex in the head, even though, arguably, it's a work that invites comparison with his own canvas, Boccaccio Story (1926), featuring the exhibitionist Masetto caught snoozing with his cock out before some passing nuns.
I suspect also he would be troubled by the fact that the work is by a woman and thus subjects the male body to an ambiguous female gaze that just might be derisive more than desirous; scornful, rather than reverential. For whilst Lawrence wants women to worship the male body in all its phallic beauty and potency (as Connie worships the body of her lover Mellors), he seems full of anxiety that they should find the male sex organ foolish and imperfect; a little disgusting in its unfinished clumsiness.
And then there's the title chosen by Orlan for her work; a title which implies the phallus is a symbol of violent masculinity and lies at the root of armed conflict. Lawrence would absolutely deny this. For him, whilst the penis as a physiological organ obviously belongs to an individual male agent, the phallus is something that rises into being between lovers, forming a bridge that brings people into touch and enables the post-coital bliss that he terms the peace that comes of fucking.
Thus hatred of the phallus - seen here rising darkish and hot-looking from the little cloud of vivid gold-red hair - is uncalled for and betrays perhaps the great modern horror of being in touch; what Lawrence insists is the root-fear of all mankind.
And so, without suggesting readers get on their knees before the phallus and subscribe to Lawrence's phallocentric mystery religion, I do think an attitude of queer wonder that mixes a little awe and excitement is preferable to any lazy attempt to denigrate, belittle and nullify the erect cock, or, indeed, the small soft penis, which is really just another little bud of life as Connie says, rather than a potential source of evil.
When, as it must, the phallus inexorably penetrates the body of another, it might indeed come with the thrust of a sword and bring suffering and death. But, more often than not, it comes with "a strange slow thrust of peace, the dark thrust of peace and a ponderous, primordial tenderness, such as made the world in the beginning" ...
Notes
Mireille Suzanne Francette Porte is a French artist, born in 1947. She adopted the name Orlan (which she always writes in capitals) in 1961, aged fifteen. She's primarily an artist who works with and on the flesh (usually her own); more of a carnal artist, as she says, than just an artist concerned with the body.
Her 1989 work, L'Origine de la Guerre, which uses a photograph of the actor Jean-Christophe Bouvet taken by Georges Merguerditchian, is surprisingly (or perhaps not surprisingly) little-known. For an interesting discussion of her work, see Cerise Joelle Myers; 'Between the Folly and the Impossibility of Seeing: Orlan, Reclaiming the Gaze' (2006) - click here.
The lines quoted from D. H. Lawrence (including those that I have recalled from memory and put in italics) are taken from chapters 12 and 14 of Lady Chatterley's Lover, ed. Michael Squires, (Cambridge University Press, 1983).
Those interested in reading a related post to this one on D. H. Lawrence's painting Boccaccio Story, should click here.
I suspect also he would be troubled by the fact that the work is by a woman and thus subjects the male body to an ambiguous female gaze that just might be derisive more than desirous; scornful, rather than reverential. For whilst Lawrence wants women to worship the male body in all its phallic beauty and potency (as Connie worships the body of her lover Mellors), he seems full of anxiety that they should find the male sex organ foolish and imperfect; a little disgusting in its unfinished clumsiness.
And then there's the title chosen by Orlan for her work; a title which implies the phallus is a symbol of violent masculinity and lies at the root of armed conflict. Lawrence would absolutely deny this. For him, whilst the penis as a physiological organ obviously belongs to an individual male agent, the phallus is something that rises into being between lovers, forming a bridge that brings people into touch and enables the post-coital bliss that he terms the peace that comes of fucking.
Thus hatred of the phallus - seen here rising darkish and hot-looking from the little cloud of vivid gold-red hair - is uncalled for and betrays perhaps the great modern horror of being in touch; what Lawrence insists is the root-fear of all mankind.
And so, without suggesting readers get on their knees before the phallus and subscribe to Lawrence's phallocentric mystery religion, I do think an attitude of queer wonder that mixes a little awe and excitement is preferable to any lazy attempt to denigrate, belittle and nullify the erect cock, or, indeed, the small soft penis, which is really just another little bud of life as Connie says, rather than a potential source of evil.
When, as it must, the phallus inexorably penetrates the body of another, it might indeed come with the thrust of a sword and bring suffering and death. But, more often than not, it comes with "a strange slow thrust of peace, the dark thrust of peace and a ponderous, primordial tenderness, such as made the world in the beginning" ...
Notes
Mireille Suzanne Francette Porte is a French artist, born in 1947. She adopted the name Orlan (which she always writes in capitals) in 1961, aged fifteen. She's primarily an artist who works with and on the flesh (usually her own); more of a carnal artist, as she says, than just an artist concerned with the body.
Her 1989 work, L'Origine de la Guerre, which uses a photograph of the actor Jean-Christophe Bouvet taken by Georges Merguerditchian, is surprisingly (or perhaps not surprisingly) little-known. For an interesting discussion of her work, see Cerise Joelle Myers; 'Between the Folly and the Impossibility of Seeing: Orlan, Reclaiming the Gaze' (2006) - click here.
The lines quoted from D. H. Lawrence (including those that I have recalled from memory and put in italics) are taken from chapters 12 and 14 of Lady Chatterley's Lover, ed. Michael Squires, (Cambridge University Press, 1983).
Those interested in reading a related post to this one on D. H. Lawrence's painting Boccaccio Story, should click here.
