Rachel Cusk on the Self in Visual Art

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Rachel Cusk on the Self in Visual Art
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“Language is essentially incriminating: writers are identified mercilessly with their works yet there is an invisibility—or almost a protective cordon—around the visual artist,” Rachel Cusk says.

” has two narrative strands. One involves an artist who at some point in his career decides to start painting scenes from life upside down. The paintings you describe are based on those of Georg Baselitz, but D—the artist in the story—and his wife are fictional characters imagined by you.

It’s true that I was brained in the street in Paris, completely randomly, and the difficulty for me as a writer lay in the use of a personal experience that was so anomalous. Generally, I would use myself—as a location—only if the experience seems universal. It took me a long time to figure out the universal in this very singular and personal act. And, in the end, it had to do with the gender of the attacker—I don’t believe I would have found anything to say about being attacked by a man.

The story as a whole revolves around ideas about womanhood and art—the representation of women in art and what that does to freedom and agency, the question of whether a female artist can be simply an artist or is always a womanan artist, and so on. Did your interest in those ideas trigger the narratives, or did the narratives come first and trigger the discourse?

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