This theory essay will consist of a discussion between transgression in art and architecture.
First I will discuss what is transgression in art and in architecture? Through my research I am going to show works of well-known architects and artists describing their intentions, meanings and the reasons behind the pieces of work. The work I will be showing has been designed to push the boundaries, to confront and explore the interaction with the public with a constrained scenario.
What is Transgression?
Transgression can be defined as exceeding limitations and breaking laws and rules etc. – Oxford Dictionary
Transgression suggests operating beyond accepted norms and radically reinterpreting practice by pushing at the boundaries of both what architecture is, and what it could or even should be 
Transgression in art
Transgression suggests operating beyond accepted norms and radically reinterpreting practice by pushing at the boundaries of both what art is or even what it could be. Transgression opens up a wide range of possibilities for the artists which I will be showing through the first part of this essay. I will be showing and discussing the work of Carolee Schneemann, Rick Gibson and Gunther von Hagens.
What is a satisfactory definition of art? What reason do we need to think that there is some moral reason that transgression cannot be art? It art simply just a painting of landscape or is it that we need to be outraged and shocked to really think what contributes as art? Are immoral works of art must be necessarily bad forms of art?
Carolee Schneemann is a renowned transgressive, multidisciplinary artist that transmuted the classification of art, predominantly with her channel of communication, use of the human body, sexuality, and gender.
The time immemorial of her work is categorized by the exploration into antediluvian graphic civilizations, of the body of which the artist has a self-motivated connection with the community figure. You can see this connection throughout her work for example; ‘Interior Scroll 1975’ performed in New York. (Fg.1) Interior Scroll was a culmination of Schneemann’s sophisticated creative thinking about ‘vulvic space’.
Her radical early performances, Eye Body 1963 (Fg.3) and Meat Joy 1964, (Fg.4) brought first the artist’s naked body and then the semi-naked bodies of a group of young performers into the expressive realm of the painter’s canvas.
Her refusal to divorce sexual experience from art making was intended as a return to the body as a source of knowledge and experience and to unify its internal energies with the visual information it provides. Schneemann’s work of Painting, photography, performance art and installation works are shown at various places around the world. Her work is outrageous and may come across to some viewers as vulgar.
Her work is seen as transgressive because her work/ performances do break certain boundaries of the art world. In addition, what is...