Naked Women Is Art
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Noseland near Schöftland 20.08.2017, 16h bis ca 16.40h In the anarchistic royalty of Noseland with King Bruno. Installation of repetead actions, seems to be a ritual. After 40 minutes the police appeared because of an advice from the neighbourhood, far away 250 meter. There was a fine which was not payed by 3 performers. Concept Thomas Zollinger Performers R.M., E.S., P.V., S.D., T.Z., B.S. Camera Aeon Von Zark www.noseland.ch
Performance instalación #AGUIRREPOP! � Por: Monasterio Casa Taller. "Inspirada en el simbolismo de las estatuas de la Avenida Francisco de Aguirre inmersas en un contexto urbano actual, enfatizando en la relación de las estatuas con los transeúntes". . . . "El acto performático permite construir la escena en el acto, invitando a una experiencia que rompe con los parámetros cotidianos del teatro, planteando temas identitarios reconocibles en los asistentes, cuya reacción en el transcurso del montaje irán adquiriendo un papel pimportante. Los actores serán anfitriones, y guías de este proceso, integrando al espectador como parte de una escena colectiva".
"Witness My Believable Make-Believe" Jada Marie Taylor (Actor) Check Me Out!!! FOLLOW!!! Instagram : InkySpookle SnapChat : InkySpookle Live.Me : InkySpookle
Sorry about the vertical view, I have recorded this for the instagram stories and decided to uploaded here. At least we can all enjoy of some clips of this amazing performance. :) This performance is part of an exhibition Transmissions from the Etherspace, Curated by João Laia that took place at La Casa Encendida in Madrid this may. Corpsing: Eddie Peake in collaboration with Emma Fisher, Gwilym Gold and Kieram Corrin Mitchell. Eddie Peake's work focuses on the lapses and voids that emerge in the process of translating between verbal language and non-verbal forms of communication. That research materialises in spectacles where the absurd and the erotic each find their place and in which the artist plays a central role. Transmissions from the Etherspace plunges us into a performative experience that analyses the different layers and interconnections which exist in contemporary culture, a physical exploration of the friction between tangible and intangible reality and the tension this produces in the makeup of our present-day society.
Sorry about the vertical view, I have recorded this for the instagram stories and decided to uploaded here. At least we can all enjoy of some clips of this amazing performance. :) This performance is part of an exhibition Transmissions from the Etherspace, Curated by João Laia that took place at La Casa Encendida in Madrid this may. Corpsing: Eddie Peake in collaboration with Emma Fisher, Gwilym Gold and Kieram Corrin Mitchell. Eddie Peake's work focuses on the lapses and voids that emerge in the process of translating between verbal language and non-verbal forms of communication. That research materialises in spectacles where the absurd and the erotic each find their place and in which the artist plays a central role. Transmissions from the Etherspace plunges us into a performative experience that analyses the different layers and interconnections which exist in contemporary culture, a physical exploration of the friction between tangible and intangible reality and the tension this produces in the makeup of our present-day society.
Sorry about the vertical view, I have recorded this for the instagram stories and decided to uploaded here. At least we can all enjoy of some clips of this amazing performance. :) This performance is part of an exhibition Transmissions from the Etherspace, Curated by João Laia that took place at La Casa Encendida in Madrid this may. Corpsing: Eddie Peake in collaboration with Emma Fisher, Gwilym Gold and Kieram Corrin Mitchell. Eddie Peake's work focuses on the lapses and voids that emerge in the process of translating between verbal language and non-verbal forms of communication. That research materialises in spectacles where the absurd and the erotic each find their place and in which the artist plays a central role. Transmissions from the Etherspace plunges us into a performative experience that analyses the different layers and interconnections which exist in contemporary culture, a physical exploration of the friction between tangible and intangible reality and the tension this produces in the makeup of our present-day society.
Sorry about the vertical view, I have recorded this for the instagram stories and decided to uploaded here. At least we can all enjoy of some clips of this amazing performance. :) This performance is part of an exhibition Transmissions from the Etherspace, Curated by João Laia that took place at La Casa Encendida in Madrid this may. Corpsing: Eddie Peake in collaboration with Emma Fisher, Gwilym Gold and Kieram Corrin Mitchell. Eddie Peake's work focuses on the lapses and voids that emerge in the process of translating between verbal language and non-verbal forms of communication. That research materialises in spectacles where the absurd and the erotic each find their place and in which the artist plays a central role. Transmissions from the Etherspace plunges us into a performative experience that analyses the different layers and interconnections which exist in contemporary culture, a physical exploration of the friction between tangible and intangible reality and the tension this produces in the makeup of our present-day society.
Sorry about the vertical view, I have recorded this for the instagram stories and decided to uploaded here. At least we can all enjoy of some clips of this amazing performance. :) This performance is part of an exhibition Transmissions from the Etherspace, Curated by João Laia that took place at La Casa Encendida in Madrid this may. Corpsing: Eddie Peake in collaboration with Emma Fisher, Gwilym Gold and Kieram Corrin Mitchell. Eddie Peake's work focuses on the lapses and voids that emerge in the process of translating between verbal language and non-verbal forms of communication. That research materialises in spectacles where the absurd and the erotic each find their place and in which the artist plays a central role. Transmissions from the Etherspace plunges us into a performative experience that analyses the different layers and interconnections which exist in contemporary culture, a physical exploration of the friction between tangible and intangible reality and the tension this produces in the makeup of our present-day society.
Sorry about the vertical view, I have recorded this for the instagram stories and decided to uploaded here. At least we can all enjoy of some clips of this amazing performance. :) This performance is part of an exhibition Transmissions from the Etherspace, Curated by João Laia that took place at La Casa Encendida in Madrid this may. Corpsing: Eddie Peake in collaboration with Emma Fisher, Gwilym Gold and Kieram Corrin Mitchell. Eddie Peake's work focuses on the lapses and voids that emerge in the process of translating between verbal language and non-verbal forms of communication. That research materialises in spectacles where the absurd and the erotic each find their place and in which the artist plays a central role. Transmissions from the Etherspace plunges us into a performative experience that analyses the different layers and interconnections which exist in contemporary culture, a physical exploration of the friction between tangible and intangible reality and the tension this produces in the makeup of our present-day society.
Koi fish are bred purely for ornamental purposes. Created by Soojin Chang & Sarah Abney Track by Eddie Harris
B/W background shots from the Library of Congress restored, colored, and modified to include nude models. Nudes are composites or antique postcard models that don't exist in real life. Music is Joplin's Original Rag from Trachtman.org.
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The nude, as a form of visual art that focuses on the unclothed human figure, is an enduring tradition in Western art.[2] It was a preoccupation of Ancient Greek art, and after a semi-dormant period in the Middle Ages returned to a central position with the Renaissance. Unclothed figures often also play a part in other types of art, such as history painting, including allegorical and religious art, portraiture, or the decorative arts. From prehistory to the earliest civilizations, nude female figures are generally understood to be symbols of fertility or well-being.[3]
In India, the Khajuraho Group of Monuments built between 950 and 1050 CE are known for their erotic sculptures, which comprise about 10% of the temple decorations. Japanese prints are one of the few non-western traditions that can be called nudes, but the activity of communal bathing in Japan is portrayed as just another social activity, without the significance placed upon the lack of clothing that exists in the West.[4] Through each era, the nude has reflected changes in cultural attitudes regarding sexuality, gender roles, and social structure.
One often cited book on the nude in art history is The Nude: a Study in Ideal Form by Lord Kenneth Clark, first published in 1956. The introductory chapter makes (though does not originate) the often-quoted distinction between the naked body and the nude.[5] Clark states that to be naked is to be deprived of clothes, and implies embarrassment and shame, while a nude, as a work of art, has no such connotations. This separation of the artistic form from the social and cultural issues long remained largely unexamined by classical art historians.
One of the defining characteristics of the modern era in art was the blurring of the line between the naked and the nude. This likely first occurred with the painting The Nude Maja (1797) by Goya, which in 1815 drew the attention of the Spanish Inquisition.[6] The shocking elements were that it showed a particular model in a contemporary setting, with pubic hair rather than the smooth perfection of goddesses and nymphs, who returned the gaze of the viewer rather than looking away. Some of the same characteristics were shocking almost 70 years later when Manet exhibited his Olympia, not because of religious issues, but because of its modernity. Rather than being a timeless Odalisque that could be safely viewed with detachment, Manet's image was assumed to be of a prostitute of that time, perhaps referencing the male viewers' own sexual practices.[7]
The meaning of any image of the unclothed human body depends upon its being placed in a cultural context. In Western culture, the contexts generally recognized are art, pornography, and information. Viewers easily identify some images as belonging to one category, while other images are ambiguous. The 21st century may have created a fourth category, the commodified nude, which intentionally uses ambiguity to attract attention for commercial purposes.[9]
With regard to the distinction between art and pornography, Kenneth Clark noted that sexuality was part of the attraction to the nude as a subject of art, stating "no nude, however abstract, should fail to arouse in the spectator some vestige of erotic feeling, even though it be only the faintest shadow—and if it does not do so it is bad art and false morals". According to Clark, the explicit temple sculptures of tenth-century India "are great works of art because their eroticism is part of their whole philosophy". Great art can contain significant sexual content without being obscene.[10]
However, in the United States nudity in art has sometimes been a controversial subject when public funding and display in certain venues brings the work to the attention of the general public.[11] Puritan history continues to impact the selection of artwork shown in museums and galleries. At the same time that any nude may be suspect in the view of many patrons and the public, art critics may reject work that is not cutting edge.[12] Relatively tame nudes tend to be shown in museums, while works with shock value are shown in commercial galleries. The art world has devalued simple beauty and pleasure, although these values are present in art from the past and in some contemporary works.[13][14]
When school groups visit museums, there are inevitable questions that teachers or tour leaders must be prepared to answer. The basic advice is to give matter-of-fact answers emphasizing the differences between art and other images, the universality of the human body, and the values and emotions expressed in the works.[15]
Art historian and author Frances Borzello writes that contemporary artists are no longer interested in the ideals and traditions of the past, but confront the viewer with all the sexuality, discomfort and anxiety that the unclothed body may express, perhaps eliminating the distinction between the naked and the nude.[16] Performance art takes the final step by presenting actual naked bodies as a work of art.[17]
The nude dates to the beginning of art with the female figures called Venus figurines from the Late Stone Age. In early historical times similar images represented fertility deities.[18] When surveying the literature on the nude in art, there are differences between defining nakedness as the complete absence of clothing versus other states of undress. In early Christian art, particularly in references to images of Jesus, partial dress (a loincloth) was described as nakedness.[19]
Babylonian statuette of a goddess (Astarte or Ishtar)
Dancers and Flutists, Thebes (c. 1400 BCE)
Nude images in Mesopotamia and Ancient Egypt reflect the attitudes toward nudity in these societies. At the time, being naked in social situations was a source of great embarrassment for anyone with higher social status – this was not due to the connection between nudity and sexual impropriety, but rather it being indicative of low status or disgrace.[20]:127 Non-sexual, or functional nudity was common in early civilizations due to the climate. Children were generally naked until puberty, and public baths were attended nude by mixed gender groups. Those with low status – not only slaves – might be naked or, when clothed, would disrobe when necessary for strenuous work. Dancers, musicians, and acrobats would be nude while performing. Many nude images depicted these activities. Other nude images were symbolic, idealized images of warriors and goddesses; while gods where shown dressed to indicate their status.[20]:144 The figure depicted in the Burney Relief could be an aspect of the goddess Ishtar, Mesopotamian goddess of sexual love and war.[21] However, her bird-feet and accompanying owls have suggested to some a connection with Lilitu (called Lilith in the Bible), though seemingly not the usual demonic Lilitu.[22]
Nudity in Greek life was the exception in the ancient world. What had begun as a male initiation rite in the eighth century BCE became a "costume" in the Classical period. Complete nudity separated the civilized Greeks from the "barbarians" including Hebrews, Etruscans, and Gauls.[23]
The earliest Greek sculpture, from the early Bronze Age Cycladic civilization consists mainly of stylized male figures who are presumably nude. This is certainly the case for the kouros, a large standing figure of a male nude that was the mainstay of Archaic Greek sculpture. These first realistic sculptures of nude males depict nude youths who stand rigidly posed with one foot forward. By the 5th century BCE, Greek sculptors' mastery of anatomy resulted in greater naturalness and more varied poses. An important innovation was contrapposto—the asymmetrical posture of a figure standing with one leg bearing the body's weight and the other relaxed. An early example of this is Polykleitos' sculpture Doryphoros (c. 440 BCE).[24]
The Greek goddesses were initially sculpted with drapery rather than nude. The first free-standing, life-sized sculpture of an entirely nude woman was the Aphrodite of Cnidus created c. 360–340 BCE by Praxiteles.[24] The female nude became much more common in the later Hellenistic period. In the convention of heroic nudity, gods and heroes were shown nude, while ordinary mortals were less likely to be so, though athletes and warriors in combat were often depicted nude. The nudes of Greco-Roman art are conceptually perfected ideal persons, each one a vision of health, youth, geometric clarity, and organic equilibrium.[25] Kenneth Clark considered idealization the hallmark of true nudes, as opposed to more descriptive and less artful figures that he considered merely naked. His emphasis on idealization points up an essential issue: seductive and appealing as nudes in art may be, they are meant to stir the mind as well as the passions.[19]
Hermes bearing the infant Dionysus, by Praxiteles
The Marathon Boy (4th century BCE) bronze statue, possibly by Praxiteles
So-called Venus
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Article / Nudity in Art: A Virtue or Vice? by Brian Yoder ...
The fine line between art and pornography - BBC Culture
Nude Art on Vimeo
Nude (art) - Wikipedia
Important Pieces of Nude Artwork - Most Famous Nude Art ...
BBC - Private view: Five celebrities who went nude for art
Category:Paintings of nude females - Wikimedia Commons
Nude Wall Art for Sale - Photos.com
Why the nude still shocks - BBC Culture
A brief history of the vagina in art (slide show)
Naked Women Is Art
