Klein was interested in placing the spectacle of painting on display with the added shock value
of naked female bodies.
Chinese billionaire Liu Yiqian's Long Museum fought to win a monumental Jenny Saville painting
of naked female bodies stacked like sardines, outbidding four competitors including American art dealer Larry Gagosian.
On June 28, Chinese billionaire Liu Yiqian's Long Museum fought to win a monumental Jenny Saville painting
of naked female bodies stacked like sardines, outbidding four competitors including American art dealer Larry Gagosian.
These works are actual imprints
of naked female bodies covered in IKB on stretched canvases or paper, or negative images of these bodies achieved through the use of a spray gun.
Not exact matches
The upshot is that men have no self determination rights to control the appearance
of either their
naked or their clothes
bodies, while those rights are protected for
females.
A bathtub electrocution is somewhat disturbing and a murdered
female is seen lying
naked on her stomach, with her
body covered in gold paint (one
of the movie's most famous images).
As the director gets his establishing shots out
of the way, it lingers that little bit too long on the all - but -
naked female body.
Previous influential works by their peers and predecessors are also featured, such as examples from Yves Klein's Anthropométrie, which uses the
naked female body as a living paint brush, and Andy Warhol's invocation
of automatic movement and action through his series
of Dance Diagrams.
In the four epic - scaled paintings on display, «Walpurgisnacht — Faust I,» «Walpurgisnacht — Faust II» (both 1956), «The Temptation
of St. Anthony» and «The Concert
of Angels» (both 1957), the
naked female bodies crowding the canvases are ghostly white (and in the two later paintings, they are mossy green, burnt orange and blue - violet as well).
Because
of this, her work continues to expose the ambiguity
of categories we would rather avoid, embodied in the
naked, ambivalent truth
of her
female body.
Both artists shared an interest in the
female human
body and one can imagine that Mapplethorpe might have looked at Bouguereau's renowned work «Birth
of Venus» (1879) and considered how he depicted the pale white skin
of a
naked female torso.
In SELF (1970 — 76), Lynda Benglis» iconic photograph
of her
naked and sexually charged
female body wearing cool dark sunglasses, Benglis holds a lengthy latex penis that projects from her groin.
Known for her explicit male nudes that quote and subvert the art historical tradition
of male gaze onto
female body, in her portraits feature artists, musicians and writers
of both genders, dressed and
naked, representing a pantheon
of significant cultural figures.
In «Closer», Blanca finds himself in an embrace
of found serenity — the artists
naked body interlocked by two young
female figures, allegories
of eternal beauty.
The immersive installation Mutumia focuses on the
naked female body as a site
of resistance and power.
Created in an era when TV ads were largely oriented towards housewives, the installation uses the language
of implicit and explicit exploitation as a means for forcing its viewers to confront the confining grasp
of the heteronormative American Dream, a Dream powered and defined by an industry
of commodification and consumption (whether
of Arm & Hammer baking powder or the
naked female body).
The image
of the
female nude
body itself is a representation
of our own humanity, our own vulnerability, our need for a convincing metaphor for the missing
naked truth, a remnant
of sorts from classical academic training and faded humanistic values.