Wilke explored this idea of materiality in her well-known “S.O.S. When asked why she employed non-traditional materials such as lint, chewing gum, erasers, and vintage postcards, Wilke replied, “I chose gum because it’s the perfect metaphor for the American woman-chew her up, get what you want out of her, throw her out and pop in a new piece.” Texturality and physicality are inextricable from the politics of her work their very fabric is imbued with her statement of intent. It’s easy to label her output “feminist art.” Wilke, who was born Arlene Hannah Butter in 1940 in New York and died of cancer in Houston, Texas, in 1993 at age 52, is best known for her performances, photographs, and sculptures, many of which incorporate vulva imagery and her own nude body.
It made me think of women, of death, of the utter strangeness of the body. It has the look of something blooming and rotting all at once. 1970) begs to be touched, as though by doing so one might begin to understand these contradictions: delicate yet hardened, beautiful but off-putting. The sculpture’s edges are rippled like petals, shrivelled and calloused, and the folds overlap around a central cavity. At the far end of Alison Jacques Gallery in London, large and immediate, a sculpture of a vulva appeared leathery, red-raw, hanging from small hooks like drying meat.
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