Nude Women Of The World

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Nude Women Of The World
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Gallery Slideshow Category Slideshow

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Qafár af Аҧсшәа bahasa ambon Acèh адыгабзэ адыгабзэ تونسي/Tûnsî تونسي Tûnsî Afrikaans Akan Gegë Alemannisch тÿштÿк алтай тил አማርኛ Pangcah aragonés Ænglisc अङ्गिका العربية ܐܪܡܝܐ mapudungun جازايرية الدارجة مصرى অসমীয়া American sign language asturianu Atikamekw авар Kotava अवधी Aymar aru azərbaycanca تۆرکجه башҡортса Bali Boarisch žemaitėška Batak Toba Batak Toba جهلسری بلوچی Bikol Central беларуская беларуская (тарашкевіца)‎ беларуская (тарашкевіца)‎ български روچ کپتین بلوچی भोजपुरी भोजपुरी Bislama Banjar bamanankan বাংলা བོད་ཡིག বিষ্ণুপ্রিয়া মণিপুরী بختیاری brezhoneg Bráhuí bosanski Batak Mandailing Iriga Bicolano ᨅᨔ ᨕᨘᨁᨗ буряад català Chavacano de Zamboanga Mìng-dĕ̤ng-ngṳ̄ нохчийн Cebuano Chamoru Choctaw ᏣᎳᎩ Tsetsêhestâhese کوردی corsu Capiceño Nēhiyawēwin / ᓀᐦᐃᔭᐍᐏᐣ qırımtatarca къырымтатарджа (Кирилл)‎ qırımtatarca (Latin)‎ čeština kaszëbsczi словѣньскъ / ⰔⰎⰑⰂⰡⰐⰠⰔⰍⰟ Чӑвашла Cymraeg dansk Deutsch Österreichisches Deutsch Schweizer Hochdeutsch Deutsch (Sie-Form)‎ Thuɔŋjäŋ Zazaki dolnoserbski Dusun Bundu-liwan डोटेली ދިވެހިބަސް ཇོང་ཁ eʋegbe Emiliàn Ελληνικά emiliàn e rumagnòl English Canadian English British English Esperanto español español de América Latina español (formal)‎ eesti euskara estremeñu فارسی Fulfulde suomi meänkieli Võro Na Vosa Vakaviti kvääni føroyskt français français cadien arpetan Nordfriisk furlan Frysk Gaeilge Gagauz 贛語 赣语（简体）‎ 贛語（繁體）‎ kriyòl gwiyannen Gàidhlig galego گیلکی Avañe'ẽ गोंयची कोंकणी / Gõychi Konknni गोंयची कोंकणी Gõychi Konknni Bahasa Hulontalo 𐌲𐌿𐍄𐌹𐍃𐌺 Ἀρχαία ἑλληνικὴ Alemannisch ગુજરાતી Gaelg Hausa 客家語/Hak-kâ-ngî Hawaiʻi עברית हिन्दी Fiji Hindi Fiji Hindi Ilonggo Hiri Motu hrvatski Hunsrik hornjoserbsce Kreyòl ayisyen magyar magyar (formal)‎ հայերեն Արեւմտահայերէն Otsiherero interlingua Bahasa Indonesia Interlingue Igbo ꆇꉙ Iñupiak ᐃᓄᒃᑎᑐᑦ inuktitut Ilokano ГӀалгӀай Ido íslenska italiano ᐃᓄᒃᑎᑐᑦ/inuktitut 日本語 Patois la .lojban. jysk Jawa ქართული Qaraqalpaqsha Taqbaylit Адыгэбзэ Адыгэбзэ Kabɩyɛ Kabuverdianu Kongo کھوار Gĩkũyũ Kırmancki Kwanyama ဖၠုံလိက် қазақша قازاقشا (تٴوتە)‏ قازاقشا (جۇنگو)‏ қазақша (кирил)‎ қазақша (Қазақстан)‎ qazaqşa (latın)‎ qazaqşa (Türkïya)‎ kalaallisut ភាសាខ្មែរ ಕನ್ನಡ 한국어 조선말 Перем Коми Kanuri къарачай-малкъар Krio Kinaray-a karjal कॉशुर / کٲشُر کٲشُر कॉशुर Ripoarisch kurdî كوردي (عەرەبی)‏ kurdî (latînî)‎ къумукъ коми kernowek Кыргызча Latina Ladino Lëtzebuergesch лакку лезги Lingua Franca Nova Luganda Limburgs Ligure Līvõ kēļ لەکی Ladin lumbaart lingála ລາວ Silozi لۊری شومالی lietuvių latgaļu Mizo ţawng لئری دوٙمینی latviešu 文言 Lazuri मैथिली Basa Banyumasan мокшень Malagasy Ebon олык марий Māori Minangkabau македонски മലയാളം монгол ꯃꯤꯇꯩ ꯂꯣꯟ ဘာသာ မန် молдовеняскэ मराठी кырык мары Bahasa Melayu Malti Mvskoke Mirandés မြန်မာဘာသာ эрзянь مازِرونی Dorerin Naoero Nāhuatl Bân-lâm-gú Napulitano norsk bokmål Plattdüütsch Nedersaksies नेपाली नेपाल भाषा Oshiwambo Niuē Nederlands Nederlands (informeel)‎ norsk nynorsk norsk ᨣᩴᩤᨾᩮᩥᩬᨦ Novial ߒߞߏ Nouormand Sesotho sa Leboa Diné bizaad Chi-Chewa Nyunga occitan Livvinkarjala Oromoo ଓଡ଼ିଆ Ирон لسان توركى ਪੰਜਾਬੀ Pangasinan Kapampangan Papiamentu Picard Deitsch Plautdietsch Pälzisch पालि Norfuk / Pitkern polski Piemontèis پنجابی Ποντιακά Prūsiskan پښتو português português do Brasil Runa Simi Runa shimi Rumagnôl Tarifit rumantsch kaalengo tšimb romani čhib Kirundi română armãneashti tarandíne русский русиньскый armãneashti Vlăheşte Влахесте Vlăheşte Kinyarwanda मारवाड़ी संस्कृतम् саха тыла ᱥᱟᱱᱛᱟᱲᱤ sardu sicilianu Scots سنڌي Sassaresu کوردی خوارگ davvisámegiella Cmique Itom Koyraboro Senni Sängö žemaitėška srpskohrvatski / српскохрватски Tašlḥiyt/ⵜⴰⵛⵍⵃⵉⵜ Tašlḥiyt ⵜⴰⵛⵍⵃⵉⵜ ၽႃႇသႃႇတႆး tacawit සිංහල Simple English Кӣллт са̄мь кӣлл bidumsámegiella ubmejesámiengiälla slovenčina سرائیکی سرائیکی slovenščina Schläsch Gagana Samoa åarjelsaemien julevsámegiella anarâškielâ sääʹmǩiõll chiShona Soomaaliga shqip српски / srpski српски (ћирилица)‎ srpski (latinica)‎ Sranantongo mbia cheë SiSwati Sesotho Seeltersk себертатар Sunda svenska Kiswahili ślůnski Sakizaya தமிழ் Tayal ತುಳು తెలుగు tetun тоҷикӣ тоҷикӣ tojikī ไทย ትግርኛ Türkmençe Tagalog толышә зывон Setswana lea faka-Tonga Tok Pisin Türkçe Ṫuroyo Seediq Xitsonga татарча/tatarça татарча tatarça chiTumbuka Twi reo tahiti тыва дыл ⵜⴰⵎⴰⵣⵉⵖⵜ удмурт ئۇيغۇرچە / Uyghurche ئۇيغۇرچە Uyghurche українська اردو oʻzbekcha/ўзбекча ўзбекча oʻzbekcha Tshivenda vèneto vepsän kel’ Tiếng Việt West-Vlams Mainfränkisch Volapük Vaďďa Võro walon Winaray Wolof 吴语 хальмг isiXhosa მარგალური saisiyat ייִדיש Yorùbá 粵語 Vahcuengh Zeêuws ⵜⴰⵎⴰⵣⵉⵖⵜ ⵜⴰⵏⴰⵡⴰⵢⵜ 中文 文言 中文（中国大陆）‎ 中文（简体）‎ 中文（繁體）‎ 中文（香港）‎ Bân-lâm-gú 中文（澳門）‎ 中文（马来西亚）‎ 中文（新加坡）‎ 中文（台灣）‎ 粵語 isiZulu
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Is nakedness invisibility’s opposite? Maybe not, but, if it’s unapologetically displayed, it can be a kind of antidote to erasure.
“Bebe on Sand,” 2014. Photographs by Jocelyn Lee
“Deborah at Aquinnah Beach in September,” 2020.
“Nancy at 78, Maine at 18 (Aunt and Grandniece),” 2018.
“Nancy Floating at Quitsa Pond,” 2016.
“Judith at Home,” 2009. Photographs by Jocelyn Lee
“Bebe and Pagan in the Red Room,” 2004.
“Bebe and Pagan Pregnant with Twin Girls,” 2012.
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Some clichés about the cycle of life are true. When you are raising young children, the days are long and the years are short. And when you’re a woman, you will, at about age fifty, become invisible. All our lives, as girls and younger women, we prepare ourselves to be looked at. We grow accustomed to registering —to attracting, evading, or denouncing the male gaze. In “ Mrs. Dalloway ,” Clarissa, newly aware of herself as a woman of a certain age, walks down the street thinking, “This body, with all its capacities, seemed nothing—nothing at all.” The cultural critic Akiko Busch, quoting that line from “Mrs. Dalloway,” notes that “a reduced sense of visibility does not necessarily constrain experience.” True, but it takes some getting used to, and when it’s punctuated, as it often is, by condescension—when strangers are suddenly addressing you not even as “Ma’am” but, with a verbal wink, as “young lady”—you may not want to get used to it.
Is nakedness invisibility’s opposite? Maybe not, but, if it’s voluntarily, unapologetically displayed, it can be a kind of antidote to diminishment and erasure. A nude portrait of a woman older than, say, sixty is an unusual image—even a taboo one. To make such photographs, and, even more so, to pose for them, is an act of defiance. In the course of her career, the photographer Jocelyn Lee has been drawn to nude bodies of all shapes and ages. Her latest book, “Sovereign” (Minor Matters Books), features a selection of her photographs of women who range in age from their mid-fifties to their early nineties, posing naked, frequently outdoors and in natural settings.
Lee’s color images of older women are painterly, classical, but also frank. Skin puckers, crinkles, and sags. Bellies poof and pleat. A silver-haired woman stands knee-deep in a pond strewn with autumn leaves, looking directly at the camera, her elbows angled back like wings to reveal one intact breast and one mastectomy scar. A naked woman sits on a blanket of moss in the woods, her breasts and belly soft, so at ease she might be napping. In “Nancy at 78, Maine at 18,” a woman and her grandniece stand nude on a beach. Side by side, their long-legged, curly-headed bodies rhyme, but also remind us of the ways time will remake our familiar, corporeal selves. The image is not some grim memento mori, though. The women lean comfortably toward each other, touching shoulders; the younger woman’s arm loops through the elder woman’s. Behind them, the sea and sky are a light-suffused blue.
Lee, who is fifty-nine, lives part of the year on a lush, wooded property outside of Portland, Maine. She’s taken some of the portraits of older women at a pond near her house, and others on beaches at Martha’s Vineyard and elsewhere. The natural settings, devoid of sociological detail and inherently beautiful, tend to banish ironic readings and extend a certain benevolence to the naked subjects. We aren’t in paradise here—nobody in these photos looks that naïve—but we are not in any sort of judgment-laden social space, either. Lee told me that she hoped the locations implied the warmth of sun on the body—“that kind of comfort and love”—and communicated the idea that we are “all essentially sensual creatures.”
“The camera can be very cruel depending on how you use it,” she said. “There’s a whole tradition of photography that’s based on criticality and cruelty. Diane Arbus —whom I love, by the way—looked for unflattering moments to create a sense of drama. Sometimes that can be done with the juxtaposition of elements in a space, the exaggeration of the appearance of wealth or poverty, harsh lighting.”
Lee said that, by contrast, her work had sometimes been criticized for being “too earnest or romantic.” But she made her peace with that a long time ago. Through her photography, Lee has always tried to understand “what lay ahead.” When she was still in college, long before she had children herself, she photographed a pregnant friend in the nude as part of her thesis project. “This was before the Demi Moore Vanity Fair cover; people didn’t really know what a pregnant woman looked like,” she said. Through the years, she took many nude photographs of her mother, who, she says, had a remarkable ease in her own skin. Lee continued taking pictures of her as she was dying of cancer.
I’m about six months older than Lee, and, all in all, I consider aging to be far better than the alternative, as my own mother, who died at sixty, the age I am now, used to say. Still, I prefer the cloudy mirror in my bathroom to any in which I can see myself clearly. The older women who posed for Lee in the nude include professors, writers, artists, an astrologer, a hospice worker, and a small-town mayor. To me, they seem very brave, but it bothers me to say so. We all have bodies; if we’re lucky, we all get old, or at least older. Why not show what it looks like?
Two of Lee’s subjects, Judith and Nancy, have been posing for her for decades. Both told me that they don’t love how they look in some of the images, but that they treasured the experience of making them with Lee, whose process is creative and collaborative. Nancy, who is eighty, said, “I cringe when I look at the images, but I know that when I’m ninety I’m gonna say, ‘Ooh, look how great I looked!’ ” Her grandniece Maine, who posed with her, is a photography student. Maine told me that Lee’s image makes her happy because her grandaunt and she look so alike in it. “It’s like seeing myself in sixty years, and I sort of love that,” she said. “I think Nancy is beautiful.” Lee told me that she plans to photograph the pair every year.
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Born and raised in Italy, Maria Clara Macrì began to travel the world to meet women from other cultures who, crossing her “lonely path and destiny”, would be willing to take part in her photography projects.
Since 2018, the photographer has been restlessly looking for destinations that could grant her the chance to encounter her next subject. Whether it was Milan or Paris, New York or Los Angeles, what mattered to Macrì was to be able to fully grasp and visually express the complex and intense nature of femininity today.
Focusing on the evolving visual portrayal of the female universe, the photographer’s latest project, In Her Room , explores the relationship between empathy, intimacy, and the contemporary representation of women. Macrì chose to capture her subjects within their own bedrooms, seeing each of those rooms as a safe space where women can experiment with, and discover, their identity for the very first time. 
The result is a series of nudes that – featuring girls from all cultures and walks of life – reflects women’s uniqueness. Entirely shot on film, In Her Rooms will soon become a book.
Below, we speak with Maria Clara Macrì about the importance of countering the mainstream representation of women, the phenomenon of female migration, and the relevance that In Her Rooms has for everyone going through social isolation.
“I could see how each of those women had something that resonated with me. Somehow, they were all reflections of myself” – Maria Clara Macrì
In Her Rooms was shot by yourself all around the world and it features girls coming from all sorts of countries, backgrounds, and ethnicities. What did you want to capture in those rooms?
Maria Clara Macrì: At the beginning of this adventure, I wanted to find the new woman, the woman of the millennium, the one that is striving for freedom just standing for the right to be exactly who she wants to be. I was looking for women that are uninterested in having a marketable value, women that do not recognise themselves in the stereotyped, sexualised images that mainstream media force onto us. I was looking for women that, for these exact reasons, are willing to write a new cha
Nude Hotwife
Dianna Mature
Asstr. Org