Cosey Fanni Tutti (Hull, 1951) became known for her participation in performances by COUM Transmissions and the British electronic avant garde band Throbbing Gristle.
Since 1973 she has also carried out her own individual activities, like exploring female nudity within the context of pornographic magazines and films, the model world and striptease. ‘In the Vitrines’ shows her involvement with Fluxus and Mail Art projects. Since the nineteen seventies she also produced publications and collected brochures of herself in which she appears as cover girl. Various viewpoints on the female image – porn queen or Madonna, model or artist, self-portrait or artificially staged – come to the fore here. At the same time she challenges the shaky balance between puritanical morality and artistic freedom. Important to her line of reasoning are the diverse contexts in which her work functions which create shifts in its meaning. Her works are deliberate actions that rest on the fact that women and women artists are in charge of visualising their own image, or as Carolee Schneemann wrote: "I was permitted to be an image/but not an image maker creating her own self image".