Academic literature on the topic 'Body image in art'

In the past decades, studies on the materiality and the efficacy of images, as well as the artistic and social practices related to them, have allowed scholars to explore how much images’ making, use, handling and display contributed to the activation of their powers of presence through their interaction with the viewer. Further, the growing interest in the articulation between the history of art and the anthropology of images has brought to light the close links between the art object and the body: in fact, if the body can be the medium of the animate art object, the art object can potentially act as a substitute of the animate body. But what happens when the body is the support of a distinctive image, when it inscribes an image on its own surface, whether directly on the skin or through intermediary props such as clothing or corporeal parure? Wearing Images investigates the different modes of interaction between the image and the body that wears it in the Early-Modern period, when devotional, political, dynastic or familial images could be worn as medals, jewels, badges, embroidered garments or tattoos.En las últimas décadas, los estudios sobre la materialidad y la eficacia de las imágenes, así como de las prácticas artísticas y sociales asociadas a ellas, han permitido a los historiadores explorar hasta qué punto la fabricación de las imágenes, su uso, manejo y exhibición contribuyó a activar sus capacidades de presentarse a través de su interacción con el espectador. Además, el creciente diálogo entre la historia del arte y la antropología de las imágenes ha puesto de relieve las estrechas conexiones entre el objeto artístico y el cuerpo: en efecto, si el cuerpo puede ser el medio para el objeto artístico animado, el objeto artístico puede actuar potencialmente como sustituto del cuerpo animado. Pero ¿qué ocurre cuando el cuerpo es el soporte de una imagen distintiva, cuando inscribe una imagen en su propia superficie, ya sea directamente en la piel o a través de intermediarios como el vestido o un adorno? Wearin Images investiga las diferentes modalidades de interacción entre la imagen y el cuerpo que se viste con ella en la Edad moderna, en una época en la que imágenes devocionales, políticas, dinásticas o familiares podían vestirse como medallas, joyas, placas, prendas bordadas o tatuajes.


 
 
 In aesthetics, as a philosophy of art, the body of the viewer is juxtaposed with the image of the painting, before which it stands still; both body and image are considered to be independent, which is a condition of a full aesthetic experience. In the present article I demonstrate how, through phenomenology, pragmatism and the idea of incarnation, post‐Kantian aesthetic is broadened. I limit myself to three theoretical perspectives; in each of them the duality of body and image is neutralised according to different rules. Phenomenology develops the relations between consciousness and body, while in pragmatism the encounter of body and image takes place in the process of the performative creation of image. The idea of incarnation, on the other hand, develops both of these currents in two divergent approaches: a theological and an anthropological one. Bringing together perspectives, which are so different methodologically reveals the existence of a profound tie between body and image.
 
 


 
 
 In aesthetics, as a philosophy of art, the body of the viewer is juxtaposed with the image of the painting, before which it stands still; both body and image are considered to be independent, which is a condition of a full aesthetic experience. In the present article I demonstrate how, through phenomenology, pragmatism and the idea of incarnation, post‐Kantian aesthetic is broadened. I limit myself to three theoretical perspectives; in each of them the duality of body and image is neutralised according to different rules. Phenomenology develops the relations between consciousness and body, while in pragmatism the encounter of body and image takes place in the process of the performative creation of image. The idea of incarnation, on the other hand, develops both of these currents in two divergent approaches: a theological and an anthropological one. Bringing together perspectives, which are so different methodologically reveals the existence of a profound tie between body and image.
 
 

This case study introduces the integration of Mathematics and Arts within a STEAM (Science, Technology, Engineering, Art, and Mathematics) project, focusing on the exploration of human body proportions and body-image perceptions. Through a project-based learning approach, a team of Swedish teachers collaboratively designed and implemented a curriculum that not only illustrates the Maths-Art relationship but also addresses the broader social and cultural implications of body image. This paper outlines the project's methodology, emphasising hands-on activities, critical thinking, and transformative learning experiences that connect real-life and artistic perspectives. By engaging students in a comprehensive exploration of body-image through historical, cultural, and mathematical lenses, the project aimed to foster a healthier understanding of body diversity. The transdisciplinary approach adopted by the teachers at Tångvalla School in Sweden serves as a model for integrating STEAM education in addressing contemporary educational and societal challenges.

The epistemological investigations concerning the visual arts of sculpture and video proposed in this essay begin in a performative field of research on the Greek islands of Kos and Crete. The intentional act of creating images from my own shadow meeting archeological objects brings an insightful approach to an update of these aesthetic languages, inspired by semantic displacement and ageless nomadism phenomena. The research is based on cognition, philosophy and body studies, as well as the modern concepts of minimalist art.

This paper aims to examine the correlation between the nonrepresentational body image in modern art and Georges Bataille’s concept of ‘the formless’. Therefore, Chapter 2 defines the concept of the nonrepresentational body image and examines cases in art history. In addition, by discussing the correlation between post structuralism and the nonrepresentational body image, the basis for the involvement of the body’s nonrepresentation in modern art is laid out. Chapter 3 discusses the analytical basis of the nonrepresentational body image by examining Georges Bataille’s concept of ‘the formless’ and its practical strategy, which provides a key element in the analysis of works. Chapter 4 analyzes the nonrepresentation of the body image in modern art based on Georges Bataille’s theory, as discussed above. Through this, the researcher presents the appearance of modern people whose nonrepresentational body image in the works of sample artists cross the boundary between the subject and the other as a sensory trace of the formless body, and it was found that behind it was the ‘Concept of Transgression’, which presupposes Georges Bataille’s negativity.

Art is not an image work, but an image that people can see and an apparent result of the transcendent image presented by art; art is the ideological and spiritual product that’s processed from the high-end level of consciousness and thinking and generated by the entanglement movement of human body and cosmic materials. Also, it is an original form behind the physical image works, intended to reconcile the relationship between spiritual illusion and the material world; acting on all human life activities in accordance with the law of increasing progression under the cosmic stipulation, its ultimate task is to optimize the survival of human life while safeguarding the conservation of life; its practical task is to serve to help human beings achieve a perfect spiritual world of and construct a cultural spiritual system more in line with human society.