Nude Teenagers
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Nude Teenagers
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Yushi Li, The Feast, 2020, image courtesy Yushi Li
“The male nude is by leaps and bounds way less exoticized than the female nude in art, and in all forms of media”, the photographer Dana Scruggs tells me. Her recently released photo series The Black Male Form sees Scruggs — known for shooting high profile celebrity magazine cover stories — vow to use the male body as an object, in the same way many male artists have done with the female body throughout art history. “Seeing the female body nude is extremely commonplace”, Scruggs elaborates, “there’s literally been countless advertisements of naked women on billboards and in magazines, and actresses are constantly expected to show full frontal nudity on screen.”. It’s a lack of parity that Scruggs wants to subvert, “the male nude has been marginalized because there’s never been a dude with his penis out on the side of a bus”, she says, “only now are we starting to see male actors going full frontal in TV and film on a more consistent basis.”.
Dana Scruggs, Rōze En La Playa (2016)
Becoming more radical as her career progresses – in January Scruggs took to Instagram resolving to “just do what I want. If you like it great, if you don’t, that’s okay too” – her next step involves moving the needle on the use of the male nude in art. The last century of visual culture has seen the female body become a passive creative object used to benefit advertising, art, commerce and pornography, largely by and for men. Her photo series Roze en la Playa on show at New York’s Fotografiska Nude exhibition illustrates how Scruggs is committed to addressing the inequality of male and female nudes in art. The show opened a week after Scruggs posted a mission statement on Instagram, where she revealed her ongoing project The Black Male Form . “The Black Male Form is a phrase I’ve used most of my career to describe my work”, she wrote, “Unfortunately I rarely get hired to shoot men. It feels good to go back to my roots to push even further than I have before.”.
This lens on the male nude is a political one for Scruggs. “This is a patriarchal society that has been dominated by men having the power to desenstize the public to the female nude while intentionally making the public highly sensitive to viewing male genitalia” she tells me, when I ask about her image Roze en la Playa , which sees the chef and model Roze Traore laying in a pose reminiscent of Ingre’s Grande Odalisque painting on a sandy beach. Scruggs cleverly highlights the knock-on effect of a visual culture permeated with passive female nudes, but far fewer of men.
Since the artist group Guerilla Girls famously revealed in 1989 that 5% of the artists in US modern art collections are women, but 85 percent of the nudes are female, little has changed. In 2018, a National Museum of Women in the Arts survey of American museums found that 87 percent of the collections were by men. “When I go to museums, I see way more breasts and vaginas on display than I see penises”, Scruggs explains, “the double standard of vulnerability is very easy to see.”. This double standard has created a culture where the female nude image is traded in a way mens’ is not — in 2018 Exeter University found that nearly 3 in 4 victims of revenge porn are women.
Yushi Li, Ben, (2017), image courtesy Yushi Li
“The male nude was the ideal and principal subject in art in ancient Greece and early renaissance art” says photographer Yushi Li , who appears in the exhibition Nude alongside Scruggs. However, she explains, “since the early 19th century, the female nude started becoming the most prevalent subject in art. Unlike the male nude, which is often perceived as an autonomous subject, the female nude is normally presented in a passive way. I think in my work, I try to present men in a different way to question this masculine and feminine opposition, and cast the gaze onto the male body, which can be equally eroticized and desired as the female body.”. Over the last year, much has been made over male nudity becoming slightly more commonplace in popular culture – in the Sex and the City reboot And Just Like That, Harry’s full front scene went viral, Sex Life 's Adam Demo’s nude scene was much talked about, and even the cover of Julia Peyton’s novel Vladimir shows a naked man. But as Li notes, these acts of nudity have far more autonomy that women’s do – we still need more parity.
Li’s photographic profiles such as Tinder Boys and The Feast , present the male body as a passive prop to her art. An image from The Feast depicts Li fully clothed with naked men used as props for furniture. “In the project My Tinder Boys , I photographed different men I met through the online dating application Tinder. I look at them, I ‘like’ them, I make them become images of mine. The repetition of the process and similar settings in this series of photographs turns these men into undifferentiated and replaceable objects of my desire.”
Yushi Li, The Nightmare, image courtesy Yushi Li
Li’s image The Nightmare is strikingly similar to Allen Jones’s 1969 sculpture Table, in which a female mannequin is bent over and used as a seat – a pointed reference to the casual use of female bodies for the benefit of a male artist? “During these unusual dates” Li says, careful to note the nuance in her presentation of female objectification of men: “I am both the violator who tries to invade their private space and also the desiring object who participates in their vulnerability”. Carlota Ibanez of Efremedis Gallery in Berlin, says she’s seeing a new emerging market among collectors for art where the tropes of art owned by men historically “such as the nude which was until very recently largely authored by men for men”, are “subverted, such as women depicting men naked, not as the centrepiece of their art, but as passive objects.”.
Dana Scruggs, Rōze En La Playa, image courtesy Dana Scruggs
Like Yi, Scrugg’s ongoing series The Black Male Form sees her use the male body as the ideal prop for the perfect photograph. “I will usually give the model a random piece of direction like: pretend like you're a leaf on the wind or pretend like you’re a piece of spaghetti that’s been thrown against a wall”, she says, “how they interpret that direction is our jumping off point and we work together to make those movements look and feel organic and effortless.”. In many ways, this female lens on the male body is anti-social media, the algorithm-defined aesthetics of which have led to many photographers showing their work on Instagram that prioritises a beauty that fits into western standards – which is what the algorithm rewards.
Does Scruggs think the male nude is at risk of the same marginalisation that women have felt for over half a century? “The root of my work is portraying the masculinity and vulnerability of the Black male form. I enjoy photographing women, but the opposite energy of men is what inspires me the most”, she says. She describes her work before revealing The Black Male Body series as something she did for career progression, feeling that she to “had to check boxes of wokeness and black pain”, a sentiment she shared on Instagram last year. For now, a commitment to the male nude is her main objective. “It’s a voyeuristic fascination” she says — “a curiosity of the masculine.”.
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Britney Spears’ husband Sam Asghari came to her defense after the Princess of Pop’s ex-husband Kevin Federline slammed her for posting nude photos on social media.
Federline, 44, recently claimed that Spears’ two children — Sean, 16, and Jayden, 15 — have chosen not to see her over her racy Instagram snaps.
In two now-deleted posts, Asghari, 28, blasted the accusation.
“Even if there was truth to her kids being ashamed of their mothers choices and positive body image they wouldn’t be the 1st teenagers embarrassed of their parents,” he wrote earlier this week. “Most kids are embarrassed of their parents at one point. The mere presence of a parent can humiliate a teenager. It’s so common it has been a storyline used over and over on TV and in Films for decades.”
Asghari added that Spears is just expressing herself now that her 13-year conservatorship has ended .
“Eventually if not already they will realize their mothers choices are harmless and an expression of newly found freedom,” he said. “There is nothing to be embarrassed about just lots of things to be proud of.”
“The boys are very smart and will be 18 soon to make their own decisions and may eventually realize the ‘tough’ part was having a father who hasn’t worked much in over 15 years as a role model,” Asghari wrote in another post. “Kevin’s gravy train will end soon, which probably explains the timing of these hurtful statements.”
Federline appeared in a bombshell interview on Aug. 6 about his relationship with Spears, 40, and their kids in which he claimed that “the boys have decided they are not seeing her right now.”
He alleged that the teens didn’t attend Spears’ June wedding because of her frequent nude Instagram posts .
The “Circus” singer slammed K-Fed, expressing her disgust after his interview.
“Only one word: Hurtful,” she wrote. “It saddens me to hear that my ex-husband has decided to discuss the relationship between me and my children. As we all know, raising teenage boys is never easy for anyone.”
Spears said it “concerns” her that he cited Instagram and referenced her ex’s claim that their kids believe her social media feed is “tough” to deal with.
“It was LONG before Instagram … I gave them everything,” she said. “l’Il say it … My mother told me ‘You should GIVE them to their dad.’ I’m sharing this because I can. Have a good day folks!!!”
Новосибирск красавицы Сибири
Novosibirsk’s Siberian Beauties
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Anna Yuzhakova takes her laptop computer with her to the restaurant car. She wants to show her international visitor the many charms of Siberian beauties. They are the result, she says, of years of mixed marriages by citizens from different republics of the former Soviet Union.
Anna is a scout. She discovers new talents for the Noah Models agency in St. Petersburg.
She is herself a former model. Four times a year she crosses her native region by train searching for the next top models, the ones who will one day strut the catwalks of Paris or New York.
Her travelling companion, Stephane Hababou, watches the photos of would-be models scroll across the screen. He’s also a scout. He represents the prestigious Marilyn agency in Paris.
It’s his first trip to Siberia. Hababou says it’s the best way for him to find new prospects ahead of his competition.
There’s not a moment to waste. Anna and Stephane stop in every large city of the region, holding a casting call that is open to all.
About 50 teen girls in black undergarments and stiletto heels greet Anna and Stephane at every stop. Some move nervously. Others proudly show off their curves.
The presence of this visitor from Paris ramps up the pressure. Everyone knows Hababou holds the key to a possible career abroad. It’s an opportunity to follow both an American and French dream, a chance to escape the daily drudgery of life in Siberia.
Anna invites Marina Korotkova to step forward. The 17-year-old barely has the time to take two steps before a cutting remark welcomes her into the world of modelling, even if pronounced under the guise of humour. “Marina is a little overweight.” At 93 centimetres, her hips are too wide. The visitors still take a few photos and recommend she go on a diet.
Russia’s largest modelling school is in Novosibirsk. It’s a unique breeding ground for girls who start training as early as age 10 or 12. They learn fashion photography techniques and how to sway their hips on a catwalk.
Fifteen-year-old Kristina Churina, a recent graduate, catches Stephane Hababou’s eye. If she loses a little weight, she could end up in Paris within the year, modeling the creations of top designers.
But few are chosen. Anna selects about 30 young women during each of her Siberian scouting trips. Only a fraction of them will ever end up with real modelling careers.
To be ready to seize the opportunity if presented with it, Kristina has been taking intensive English courses. She also has a plan B. She’s studying tourism and hopes to one day manage a large hotel.
Anna Yuzhakova takes her laptop computer with her to the restaurant car. She wants to show her international visitor the many charms of Siberian beauties. They are the result, she says, of years of mixed marriages by citizens from different republics of the former Soviet Union.
Anna is a scout. She discovers new talents for the Noah Models agency in St. Petersburg.
She is herself a former model. Four times a year she crosses her native region by train searching for the next top models, the ones who will one day strut the catwalks of Paris or New York.
Her travelling companion, Stephane Hababou, watches the photos of would-be models scroll across the screen. He’s also a scout. He represents the prestigious Marilyn agency in Paris.
It’s his first trip to Siberia. Hababou says it’s the best way for him to find new prospects ahead of his competition.
There’s not a moment to waste. Anna and Stephane stop in every large city of the region, holding a casting call that is open to all.
About 50 teen girls in black undergarments and stiletto heels greet Anna and Stephane at every stop. Some move nervously. Others proudly show off their curves.
The presence of this visitor from Paris ramps up the pressure. Everyone knows Hababou holds the key to a possible career abroad. It’s an opportunity to follow both an American and French dream, a chance to escape the daily drudgery of life in Siberia.
Anna invites Marina Korotkova to step forward. The 17-year-old barely has the time to take two steps before a cutting remark welcomes her into the world of modelling, even if pronounced under the guise of humour. “Marina is a little overweight.” At 93 centimetres, her hips are too wide. The visitors still take a few photos and recommend she go on a diet.
Russia’s largest modelling school is in Novosibirsk. It’s a unique breeding ground for girls who start training as early as age 10 or 12. They learn fashion photography techniques and how to sway their hips on a catwalk.
Fifteen-year-old Kristina Churina, a recent graduate, catches Stephane Hababou’s eye. If she loses a little weight, she could end up in Paris within the year, modeling the creations of top designers.
But few are chosen. Anna selects about 30 young women during each of her Siberian scouting trips. Only a fraction of them will ever end up with real modelling careers.
To be ready to seize the opportunity if presented with it, Kristina has been taking intensive English courses. She also has a plan B. She’s studying tourism and hopes to one day manage a large hotel.
Siberia is known around the world for its frigid temperatures. But in the world of fashion, the region is famous for being home to the most beautiful women in the world.
The measuring tape is king. Minimum height: 172 centimetres (5 feet, 6 inches). Maximum hips: 90 centimetres (35.4 inches).
Casting calls are open to all and attract about 60 hopeful young women every time they are held.
The measuring tape is unforgiving. With hips measuring 93 centimetres (36.6 inches), Marina Korotkova is considered “a little fat.”
Stephane Hababou, from the Marilyn agency in Paris, has come to Siberia to find the most promising beauties before his rivals do.
Anna Yuzhakova (centre), herself a former model
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