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Journal articles on the topic 'Photography of the nude'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Cole, Emily. "Photography magazines and cross-cultural encounters in postwar Japan, 1945-1955." Mutual Images Journal, no. 8 (June 20, 2020): 21–46. http://dx.doi.org/10.32926/2020.8.col.photo.

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This article examines cross-cultural encounters between Japanese and western (European and American) photographers in the immediate postwar period (1945-1955), asking how these encounters influenced Japanese photographic trends. In addition, this article considers what photographic representations of western cultures reveal about postwar constructions of Japanese cultural identity. Building upon recent research framed by conceptions of photography as sites of cross-cultural encounter (see Melissa Miles & Kate Warren), this article argues that photography magazines provided space for consistent exchange between western and Japanese photographers through multiple platforms: interviews and round table discussions of photographic trends; articles on and photo series by western photographers; and images by both western and Japanese photographers depicting western cultural material and landscapes, such as photographs of western-style fashions, domestic space, and daily life in European and American cities. Such encounters directly influenced photographic trends in Japan. Features on European nude photographers popularised nude photography as an art form among Japanese photographers, and works contributed by the likes of Henri Cartier-Bresson, Robert Capa, and Robert Doisneau contributed to a rising interest in photographic humanism. Further, these encounters provided a conduit through which photographers and readers encountered western cultural material at a time when Japan underwent a cultural identity crisis brought on by the devastation of defeat and foreign Occupation. In this way, photography magazines simultaneously functioned as spaces that negotiated what exactly “Japanese culture” meant in Japan’s new postwar world.

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2

Rexer, Raisa. "Nana in the Nude: Zola and Early Nude Photography." Dix-Neuf 22, no. 1-2 (April 3, 2018): 73–97. http://dx.doi.org/10.1080/14787318.2018.1487172.

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3

Sawant, Shukla. "The Trace Beneath: The Photographic Residue in the Early Twentieth-century Paintings of the “Bombay School”." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 1–29. http://dx.doi.org/10.1177/0974927617700768.

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This essay examines the interface between the indexical and the gestural, through the practice of early twentieth-century painters active in the Bombay Presidency and adjoining princely states such as Kolhapur and Aundh. It draws upon archival materials such as biographies, memoirs, and photographs documenting artists at work in the studio, as well as remains of posed photographs that were produced as aide-mémoire for paintings. It throws light on the fraught place of photography as aesthetic practice in the art academy, its association with colonial protocols of scientific accuracy, capture and control, and its use to construct suggestive representational hybrids of the anatomical and the painterly outside the academy. The article explores patterns of patronage and of the use of photography in the practices of art production, publication, and exhibition, looking, in particular, at the role of the photographic basis of the portrait painting, and how photography became a supplement to “life-study” or the practice of drawing from nude models. The gendered politics of this interface, between artist, technology, and female model is a recurrent thread of analysis, drawing on critical debates that were published in Marathi periodicals of the time. The article explores the braiding of technologies in artistic practice in different sites, from the academy and the artist’s studio through to publication and exhibition in galleries, and illustrated magazines. While the essay considers a number of artists, including Ravi Varma, Durandhar, and Thakur Singh, it focuses, in particular, on Baburao Painter for his engagement with photography and painting in a career which traversed theater, painting, photography, and film production.

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4

Mirabelli, Eugene. "Looking and Not Looking: Pornographic and Nude Photography." Grand Street 5, no. 1 (1985): 197. http://dx.doi.org/10.2307/25006825.

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Müller, Helge, Frauke Knossalla, Lorenz Breuer, Johannes Kornhuber, and Lars Marquardt. "Nude Photography: Abuse, Obsession, Delusion, and Finally Depression." American Journal of Medicine 125, no. 8 (August 2012): e3. http://dx.doi.org/10.1016/j.amjmed.2012.01.031.

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6

McLellan, J. "Visual Dangers and Delights: Nude Photography in East Germany." Past & Present 205, no. 1 (November 1, 2009): 143–74. http://dx.doi.org/10.1093/pastj/gtp040.

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7

Rexer, Raisa. "Baudelaire’s bodies, or redressing the wrongs of nude photography." Word & Image 35, no. 2 (April 3, 2019): 126–40. http://dx.doi.org/10.1080/02666286.2018.1549428.

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8

Dobrowolska, Anna. "“Why Don't They Display Male Nudes?”." Aspasia 17, no. 1 (June 1, 2023): 164–82. http://dx.doi.org/10.3167/asp.2023.170109.

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Abstract In the West, the 1970s were the decade of rapid sexual liberalization. Similarly, in state-socialist Poland new approaches toward sex and nudity also gained momentum. Female nudes started being printed in the popular press and displayed in gallery rooms. Simultaneously, early feminist artists such as Natalia LL, Teresa Murak, and Ewa Partum experimented with nudity to question gendered discourses and social norms. This article compares popular nude photography exhibitions with the works of women artists to analyze two approaches toward female nudity that developed in 1970s Poland. Thus, it showcases the ambiguities surrounding the project of socialist sexual modernity and highlights conflicting visions of femininity and liberation.

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9

Charrier, Philip. "Nojima Yasuzō's primitivist eye: ‘Nude’ and ‘Natural’ in early Japanese art photography." Japanese Studies 26, no. 1 (May 2006): 47–68. http://dx.doi.org/10.1080/10371390600636208.

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10

Brooke, Stephen. "War and the Nude: The Photography of Bill Brandt in the 1940s." Journal of British Studies 45, no. 1 (January 2006): 118–38. http://dx.doi.org/10.1086/497058.

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11

Asen, Robert. "Appreciation and desire: The male nude in the photography of Robert Mapplethorpe." Text and Performance Quarterly 18, no. 1 (January 1998): 50–62. http://dx.doi.org/10.1080/10462939809366209.

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12

Howells, Christina. "Jean-Luc Nancy and La Peau des images." Body & Society 24, no. 1-2 (March 5, 2018): 166–74. http://dx.doi.org/10.1177/1357034x18760179.

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This article considers Jean-Luc Nancy’s reflections on the nude in painting and photography in the light of his aesthetics, his philosophy of the body and soul, and some of his other writings on portraiture. It explores Nancy’s insistence on skin as the truth behind and beyond which no further meaning waits to be revealed: there are no hidden depths, no secret or sacred truths, nothing is concealed beneath the skin.

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13

Resasco, Agustina, Ana C. Carranza Martin, Miguel A. Ayala, Silvina L. Diaz, and Cecilia Carbone. "Non-aversive photographic measurement method for subcutaneous tumours in nude mice." Laboratory Animals 53, no. 4 (August 21, 2018): 352–61. http://dx.doi.org/10.1177/0023677218793450.

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We have developed a new method for the measurement of subcutaneous tumour volume which consists in taking photographs of mice in their home cages, to refine the standard method of measurement with calipers. We consider this new method to be non-aversive, as it may be more compatible with mice behavioural preferences and, therefore, improve their welfare. Photographs are captured when mice voluntarily go into an acrylic tube containing graph paper that is later used as a scale. Tumour volumes measured with the caliper and the non-aversive photographic method were compared to those obtained by water displacement volume and weight. Behavioural and physiological changes were evaluated to assess animal welfare. Significant differences were found between measurements obtained with the caliper and the non-aversive photographic method, v. the reference volume acquired by water displacement ( P < 0.001). Nevertheless, there was good consistency for these measurements when tumours were measured repeatedly, with all Intra-Class Correlation Coefficients above 0.95. Mice on which the non-aversive photographic method was employed were significantly less reluctant to establish contact with the experimenter ( P < 0.001) and behaved less anxiously in a modified-Novelty Suppressed Feeding test. Particularly, statistically significant differences were found in connection with the latency to eat an almond piece ( P < 0.05), the frequency of grooming ( P < 0.001) and the frequency of defecation ( P < 0.001). Corticosterone concentration in faeces and blood glucose were determined and no significant changes were found. Therefore, we propose the non-aversive photographic method to measure subcutaneous tumours as a way to refine methodologies in the field of experimental oncology.

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14

Smither, Devon. "Defying convention: The female nude in Canadian painting and photography during the interwar period." Journal of Historical Sociology 32, no. 1 (March 2019): 77–93. http://dx.doi.org/10.1111/johs.12219.

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15

Bonney, Claire. "The Nude Photograph: Some Female Perspectives." Woman's Art Journal 6, no. 2 (1985): 9. http://dx.doi.org/10.2307/1357992.

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16

Aguilar, Laura. "Human Nature." Boom 5, no. 2 (2015): 22–27. http://dx.doi.org/10.1525/boom.2015.5.2.22.

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Laura Aguilar’s Nature Self Portraits treat the human body as another feature in landscapes. In the series, Aguilar positions herself in the center of her photographs, nude, often with her back to the camera. The curve of her back echoes the rocks, her black hair in the wind recalls the thin fingers of desert trees. The photographs are at once playful and beautiful, peaceful and provocative. This photo essay includes work from Aguilar’s series, plus a similar work by California photographer Judy Dater, which influenced Aguilar.

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17

Cui, Shuqin. "The Pregnant Nude and Photographic Representation." Women's Studies 43, no. 8 (November 7, 2014): 993–1021. http://dx.doi.org/10.1080/00497878.2014.955701.

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18

Whited, Brandon. "Masculine exposure: Transgressive representations of the male nude in contemporary dance and editorial fashion photography." Queer Studies in Media & Popular Culture 3, no. 2 (June 1, 2018): 213–26. http://dx.doi.org/10.1386/qsmpc.3.2.213_1.

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19

Gyewon, Kim. "‘How to Photograph Women’: Female Portraits and Nude Photographs in Mid-Twentieth Century Japan." Journal of Korean Modern & Contemporary Art History 38 (December 31, 2019): 191–221. http://dx.doi.org/10.46834/jkmcah.2019.12.38.191.

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20

Derzelle, Edène, David Strivay, Antoine Defeyt, Sarah-Jane Klein, Francisca Vandepitte, and Catherine Defeyt. "Paul Delvaux: The Study of Nine Paintings by Non-Invasive Methods." Heritage 6, no. 11 (November 17, 2023): 7181–201. http://dx.doi.org/10.3390/heritage6110376.

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Paul Delvaux (1897–1994) was a Belgian Surrealist painter known for his dreamlike and enigmatic compositions. His works often featured nude or semi-nude women and deserted urban landscapes, evoking a sense of mystery and intrigue. Delvaux’s meticulous attention to detail and masterful use of light and shadow added depth and realism to his surrealistic style, making him one of the leading figures of the Belgian Surrealist movement. Although writings about Paul Delvaux’s work are not lacking, the literature mainly deals with the stylistic and iconographic aspects of his work. Taking an interest in painting materials and the painter’s technique allows us to understand his personality and to apprehend his work in a different way. In order to collect such information, the early painted production of Delvaux was studied in situ with imaging methods (high-resolution photography, infrared reflectography and X-ray radiography) and non-invasive analytical techniques (MA-XRF and Raman spectroscopy). The results obtained for nine oil paintings produced from 1928 to 1958 are discussed in terms of the support, the preparatory layer, the preparatory drawing, the changes in composition and reuse of paintings, the pictorial layer and the dripping phenomenon.

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21

Wright, Ellen. "Having Her Cheesecake and Eating It." Feminist Media Histories 2, no. 4 (2016): 116–42. http://dx.doi.org/10.1525/fmh.2016.2.4.116.

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Bunny Yeager was a pinup model and photographer who appeared on TV and in exploitation films, while creating pinups and “art” nudes for Playboy, coffee-table books, and how-to publications. She is currently experiencing a revival as part of a subcultural vogue for 1950s and 1960s Americana. In her images she was often both subject and photographer, and her self-reflexive pictures engage with issues of authorship, control, and the sexualized gaze. This text examines Yeager's portraiture, her instructive writing, her representation in the film Bunny Yeager's Nude Camera (1963), and the way she positioned herself when discussing her work, to demonstrate how she embodied a mode of professional and sexual agency that engaged with broader, progressive ideas pertaining to women's labor and identity circulating in 1960s America as part of feminism's second wave.

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22

Eyre, Sarah, and Xanthe Hutchinson. "Re-touched." Fashion, Style & Popular Culture 8, no. 2 (May 1, 2021): 205–10. http://dx.doi.org/10.1386/fspc_00079_1.

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Re-touched is a collaborative project by collage artist Sarah Eyre and fashion photographer Xanthe Hutchinson. Both artists share an interest in the female body, particularly the notion of pleasure in display and gaze between women and the body. The body of work that forms Re-touched combines photographic and collage methods in order to embody a sense of sensuality through the opening up and enfolding of the female form, on set and through the process of collage. The artists position their work within a framework of feminist theory that questions the binary thinking around the gaze. They draw on the writing of Laura U. Marks to bring a haptic quality to their photographic and collage interventions to the image, and in inviting the viewer to be touched by their images. Through this series of photographic collages, they have established a visual and tactile approach that utilizes the body, is collaborative and re-figures the power structures between model, photographer and viewer. Their images offer a way of rethinking and reshaping representations of the female nude.

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23

Lizun, Damian, Teresa Kurkiewicz, Mateusz Mądry, Bogusław Szczupak, and Jarosław Rogóż. "Evolution of Liu Kang’s Palette and Painting Practice for the Execution of Female Nude Paintings: The Analytical Investigation of a Genre." Heritage 5, no. 2 (April 20, 2022): 896–935. http://dx.doi.org/10.3390/heritage5020050.

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The comprehensive technical investigation of female nude paintings by the Singapore pioneer artist Liu Kang (1911–2004) provided the evidence for a discussion of the evolution of his palette of colours and his working process for expression in this genre, particularly the execution of female bodies. As the artist’s free expression in classical nude paintings was limited by the censorship imposed by the Singapore government, the investigated artworks span two periods, 1927–1954 (early career) and 1992–1999 (the “golden years”, during which censorship policies were relaxed). Hence, eight paintings from the Liu family and National Gallery Singapore were selected for non- and micro-invasive analyses of the paint layers. The obtained results were supplemented with archival sources to elucidate certain aspects of Liu Kang’s working practice. The investigation revealed the importance of drawing and sketching studies in the development of artistic ideas. The analytical techniques, such as polarised light microscopy (PLM), field emission scanning electron microscope with energy dispersive spectroscopy (FE-SEM-EDS) and attenuated total reflectance–Fourier transform infrared spectroscopy (ATR-FTIR), enabled us to observe a transition from the yellow iron-based tonal ranges of skin colours to complex pigment mixtures composed of additions of cobalt blue, ultramarine, Prussian blue, Cr-containing yellow(s) and green(s), cadmium yellow, orange and/or red and organic reds, revealing the artist’s more liberal use of colours and his experimentation with their contrasting and complementary juxtaposes. In terms of painting technique, the artist’s comparatively laborious paint application using small brushes quickly gave way to a more effortless manipulation of the paint using bigger brushes and the incorporation of palette knives. Moreover, visible light (VIS), near-infrared (NIR) and X-ray radiography (XRR) imaging techniques led to the discovery of a hidden composition in one investigated artwork, which bears resemblance to the nude painting known only from an archival photograph. Additionally, for the first time, the archival search provided photographic evidence that Liu Kang used oil paint tubes from Royal Talens and Rowney in the 1990s. Overall, this in-depth investigation contributes to the understanding of Liu Kang’s approach to the female nude painting and may assist conservators and art historians in studies of twentieth-century commercial paints.

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24

Thomas, Sara E. "“What Should I Do?”: Young Women’s Reported Dilemmas with Nude Photographs." Sexuality Research and Social Policy 15, no. 2 (December 6, 2017): 192–207. http://dx.doi.org/10.1007/s13178-017-0310-0.

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25

Picard, Alyssa. "“To Popularize the Nude in Art”: Comstockery Reconsidered." Journal of the Gilded Age and Progressive Era 1, no. 3 (July 2002): 195–224. http://dx.doi.org/10.1017/s1537781400000232.

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Of all the figures in the struggle over turn-of-the-century vice reform, Anthony Comstock is perhaps the last one might expect to encounter immortalized in the nude. He acquired his fame as a censor of nudity, among other offenses: from 1873 to his death in 1915, Assistant United States Postmaster Comstock lent his name and his enthusiasm for law enforcement to the prosecution of the “Comstock Laws,” the eponymous statutes which restricted the dissemination of vicious images and information through the United States mail. In his government post and as the head of New York City's private Society for the Suppression of Vice, Comstock prosecuted quack physicians, abortionists, lottery runners, purveyors of lewd literature and art, free love advocates and physical culture devotees. By the end of his career, he had arrested more than 3,700 people and burned over fifty tons of obscene books, 3,984,063 obscene pictures, and 16,900 photographic plates.

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26

Ogrodnik, Benjamin. "Silenced Images, Fragmented Histories." Feminist Media Histories 5, no. 2 (2019): 211–39. http://dx.doi.org/10.1525/fmh.2019.5.2.211.

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Sharon Green's short film Self Portrait of a Nude Model Turned Cinematographer (1971) represents a collision of incipient cinefeminism and autobiographical filmmaking. Containing a blend of still photographs and subjective moving-image shots of her body, the work has largely been overlooked because of a reductive framing of it as mere homage to male avant-garde artists such as Stan Brakhage, for whom Green was a nude model. By analyzing aspects of visual form, production, and exhibition, this article performs a corrective “microhistory” that reclaims Green's film as an important hybrid of erotic self-portraiture and social critique. It also situates Green in relation to proximate artists Carolee Schneemann and Yvonne Rainer. Despite ongoing neglect of the work, Green's Self Portrait remains a potent visual archive that reveals the power hierarchies of the 1970s film community in Pittsburgh, while it questions the masculinist assumptions that underlie avant-garde media and historiography.

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Städtler, Lisa. "»Der Aufsatz […] war gar nicht so ›sexy‹ wie das Bild.«." PeriodIcon 3, no. 2 (April 19, 2024): 67–82. http://dx.doi.org/10.46586/peric.2023.2.67-82.

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TThe present essay features Das Magazin, a popular East German monthly magazine that appeared in the GDR for the first time in 1954. The author analyzes the photographic depiction of women in issues of the 1950s. This analysis starts with the magazine’s prominent and well-researched nude photographs, but later focuses on other images of female bodies, i.e. in photo montages, to explore the different variations in which women were depicted in Das Magazin. A close examination of the images in question, their position and contextualization within Das Magazin allows for a look beyond the pages of the printed product and sheds light on the work of the layout artists. In doing so, the author argues that its creators revived certain visual strategies that had already been cultivated by the popular press in the interwar period and which were also existent beyond the boundaries of the GDR press. Thus, the notion of GDR magazines’ production practices can be enriched by transnational and historical perspectives.

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28

McDowall, Joseph J. "Erotic, Pornographic, or Obscene: Factors Influencing the Perception of Photographs of the Nude." Empirical Studies of the Arts 26, no. 1 (January 2008): 93–115. http://dx.doi.org/10.2190/em.26.1.g.

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Kang, Hyewon, Hae Won Kim, Giyeon Baek, and Dongsook Park. "Recalling the Past Within a Social Network’s Collective Memory Work: How Did Korean Twitter Users Shape #Equal_Punishment_for_Equal _Crime From Their Experiences?" Social Media + Society 9, no. 1 (January 2023): 205630512311563. http://dx.doi.org/10.1177/20563051231156365.

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On 19 May 2018, more than 12,000 women gathered at Hyehwa subway station in Seoul, South Korea to protest discrimination against Korean women and spy camera involved crimes. This rally was a response to an incident in which a male nude model in a class was secretly photographed by a female model at Hongik University. This study examined how discourses on Twitter regarding the incident led to the demonstration and what was the memory working that shaped significant discourses through critical discourse analysis. First, a discourse that “women have long been victims” emerged through personal remembrances. Second, photographs of the female suspect standing with police officers directed a discourse that “women have been treated unfairly by public authorities” through collective witnessing. Third, many women contextualized the incident as a gendered event by connecting the past feminist movements. Finally, through appropriating past slogans and accumulated hashtags on Twitter, the main slogan of the rally #Equal_punishment_for_equal_crime was established. This study provides an under-researched context of digital mnemonic practices and the logic of connective actions by analyzing feminist movements in South Korea.

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Armstrong, Carol. "The Reflexive and the Possessive View: Thoughts on Kertesz, Brandt, and the Photographic Nude." Representations 25, no. 1 (January 1989): 57–70. http://dx.doi.org/10.1525/rep.1989.25.1.99p0260y.

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Armstrong, Carol. "The Reflexive and the Possessive View: Thoughts on Kertesz, Brandt, and the Photographic Nude." Representations 25 (January 1, 1989): 57–70. http://dx.doi.org/10.2307/2928467.

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32

Everbach, Tracy, and Jenny Mumah. "“They Never Do This to Men”: College Women Athlet’ Responses to Sexualized Images of Professional Women Athletes." Women in Sport and Physical Activity Journal 22, no. 2 (October 2014): 92–99. http://dx.doi.org/10.1123/wspaj.2014-0020.

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This study analyzed the reactions of college women athletes to mass media images of nude and scantily clad professional female athletes. The study focused on interviews of 18- to 22-year-old female athletes about the pressure on women to pose for sexualized photographs. Using a feminist framework, the study found that some of the college athletes rejected socially constructed concepts of femininity, others criticized the professional athletes for posing, and others accepted socially constructed standards of beauty. This research suggests that young women athletes are conflicted by the images of femininity presented by mass media and react in complex ways to them.

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ARARATCÜCEOĞLU, EZGİ. "BEING TOGETHER IN SPENCER TUNICK’S ART IN A TIME OF SELF-ISOLATION DURING COVID-19 PANDEMIC." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 12, no. 3 (July 1, 2022): 655–65. http://dx.doi.org/10.7456/11203100/007.

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This study focuses on the “Stay Apart Together” project, which was carried out by photographer Spencer Tunick, who is known for his nude body installations in public spaces with the participation of many people, during the self-isolation period of 2020, which was the most difficult year of the Covid-19 pandemic. Tunick brought together the participants, who were in quarantine in different parts of the world due to the necessity of staying at home, through online conference platforms in “Stay Apart Together”. The participants posed for their own cameras in line with the directions of the artist. Screenshots of various compositions created with the participation of different numbers of people were taken by Tunick and exhibited as a photograph. In this study, it is aimed to discuss the “Stay Apart Together” in the context of “the effect of art on people during the self-isolation period.” For this purpose, the photographs exhibited in “Stay Apart Together” were examined, and the "naked body" phenomenon, which was the focus of Tunick's artistic approach, was discussed within the framework of the "self- isolation and art" unity. In this project, in addition to the naked bodies of the participants; their houses, the room they live in and their belongings are also included in the image. Therefore, this project forms a basis to evaluate the concepts of "private" and "public" in an artistic framework. In this respect, the project has been considered as a practice in which privacy is transformed into an art object. Moreover, the sociological and psychological effects of an online meeting for art held during a deadly epidemic on the participants and the viewers looking at the resulting photographs were investigated. As a result of the information obtained, “Stay Apart Together” has been evaluated as an example of relational art, showing that the structure of art that contributes to “inter-human collectivism” is kept up-to-date. As a matter of fact, “Stay Apart Together” also contributes to the artistic aspect of the global digital transformation and the transforming art experience in the context of bringing the pandemic to life during the most challenging self-isolation period.

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Han, Lei, Fengqiang Gao, Xiao Hou, Dianzhao Xie, Min Jou, and Chun-Chiang Huang. "Do covered nude photographs in the internet induce sexual cognition – A study of event-related potential." Computers in Human Behavior 80 (March 2018): 370–78. http://dx.doi.org/10.1016/j.chb.2017.11.039.

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35

Androsoff, Ashleigh. "A Larger Frame: “Redressing” the Image of Doukhobor-Canadian Women in the Twentieth Century." Journal of the Canadian Historical Association 18, no. 1 (June 17, 2008): 81–105. http://dx.doi.org/10.7202/018255ar.

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Abstract The image of a naked “Doukhobor” woman standing before her flame-engulfed home has been used repeatedly to embody the Doukhobors’ difficult adjustment to life in Canada. Here, the author argues that public attention on Doukhobor women’s bodies predates the publication of nude imagery in the middle of the twentieth century. A review of twentieth-century descriptions of Doukhobor-Canadian women reveals that their bodies were subjected to intense public scrutiny from the moment they arrived in Canada in 1899. Publishing descriptions and photographs of Doukhobor women engaged in hard farm labour, doing “women’s work,” wearing traditional ethnic dress, and in partial or total states of undress, the Canadian media significantly shaped “public knowledge” about the Doukhobors by focusing on the peculiarity of Doukhobor women’s bodies.

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36

Rosenthal, David L. "Peter Michael Martin's Corporeal Visions: Love, Death, and Democracy in Moby-Dick." Leviathan 25, no. 3 (October 2023): 50–62. http://dx.doi.org/10.1353/lvn.2023.a913119.

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Abstract: Moby-Dick has been the near-exclusive focus of artist Peter Michael Martin's prolific output—in woodblock print, papercut, sculpture, and photograph—over the past decade. By examining Martin's depictions of bodies—in isolation, in pairs, in collectives—this essay provides a primer on Martin's recent works. The essay begins by considering Martin's portraits of Ishmael, Queequeg, and Ahab in two series of black-and-white photographs, Altered Visions and Call me Ahab. Altered Visions illustrates the union of Queequeg and Ishmael as their embrace transcends physical and social divisions. Call Me Ahab , conversely, emphasizes Ahab's solitude, as he communes only with the "naught beyond" (Melville 159). Juxtaposing scenes of intimacy with emblems of death, these works consider the body as a site of both connection and isolation, friendship and subjugation. The second half of this essay discusses two of Martin's larger-scale works (the mixed-media assemblage Trumped Up Optimism and the woodblock print Above the Rest ), designed for display in public spaces. These works depict bodies en masse as deindividuated crowds under the control of a sole leader, recasting the social visions of Ishmael and Ahab as a conflict between democracy and totalitarianism. Ultimately, I argue, in the nude form, Martin finds an allegory for artistic vulnerability, which enables the radical self-expression Melville champions through Ishmael. Thus, in his depictions of bodies, Martin probes tensions between individual and collective agency and advances "Melvillean vulnerability" as a strategy for social transformation.

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Kraidy, Marwan M. "The Revolutionary Body Politic: Preliminary Thoughts on a Neglected Medium in the Arab Uprisings." Middle East Journal Of Culture And Communication 5, no. 1 (2012): 66–74. http://dx.doi.org/10.1163/187398612x624382.

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When Aliaa al-Mahdy, a 20-year old student in communication at the American University in Cairo, posted nude photographs of herself on a blog she called “A Rebel’s Diary,” she unleashed one of the most heated polemics to come out of the Egyptian revolution that began on January 25, 2011 and deposed Hosni Mubarak less than one month later. This essay, written in the days after the scandal broke in November 2011, raises preliminary questions about what responses to Aliaa’s defiant act might reveal about revolutionary politics. In the essay I argue that the polemic surrounding Aliaa can be understood in the contexts of other incidents of the Arab uprisings, beginning with Bouazizi’s self-immolation, that invite us to consider, explore and theorize the human body as a vital medium in the Arab uprisings.

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İbrahimhakkıoğlu, Fulden. "Liberalism Unveiled: FEMEN-Muslim Women Debate and the Question of Freedom." Kadın/Woman 2000, Journal for Womens Studies 20, no. 2 (August 15, 2019): 29–42. http://dx.doi.org/10.33831/jws.v20i2.81.

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In 2013, Ukraine-based feminist group FEMEN staged several protests around Europe in support of Amina Tyler, a Tunisian FEMEN activist receiving death threats for posting nude photographs of her online with social messages written on her body. Following these protests, a group of women who call themselves Muslim Women against FEMEN released a an open letter criticizing the discourse FEMEN used in these protests, which they found to be white colonialist and Islamophobic. In this paper, the author examines the discursive strategies put forth by the two sides of the debate, suggesting that undergirding both is a shared framework of liberalism. Exploring the shortcomings of liberalism as drawn on by both positions, the author attempts to rethink what “freedom” might mean for international feminist alliances across differences.

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Brooks, Ross. "Beyond Brideshead: The Male Homoerotics of 1930s Oxford." Journal of British Studies 59, no. 4 (October 2020): 821–56. http://dx.doi.org/10.1017/jbr.2020.129.

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AbstractLooking beyond the notorious “Brideshead” aesthetes and homoeroticism of 1920s Oxford, this article explores the queer sensibilities of the university's male undergraduates and their associates through the 1930s. Steadily through the decade, Oxford's unique brand of queer aestheticism and same-sex love affairs became embroiled with wider debates about the hegemony of socialism and communism and the supposed degeneracy of standards at Oxford. At the same time, the assimilation of medicalized concepts of perversion and homosexuality increasingly made Oxford's aesthetes and same-sex love affairs objects of critical scrutiny, effeminophobia, and homophobia. For many of the university's queer male undergraduates, the Oxford University Dramatic Society provided a safe haven and a platform for queer expression both in Oxford and beyond. A group of images by the Russian émigré photographer Cyril Arapoff provides further insights into the male homoerotics of 1930s Oxford. Situated within the context of Arapoff's life in the city between 1933 and 1939, his extraordinary photographs of nude and seminude young men offer glimpses into the queer lives and loves at Oxford in a period when such experiences were rarely articulated in written form. The images include the spaces the young men inhabited and their interconnections to London's vibrantly queer dance and theater scene. Such insights help establish more firmly interwar Oxford as an important hub of queer modernism, with national and international import for the course of modern queer history.

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Parry, Ellwood C. "Thomas Eakins's "Naked Series" Reconsidered: Another Look at the Standing Nude Photographs Made for the Use of Eakins's Students." American Art Journal 20, no. 2 (1988): 53. http://dx.doi.org/10.2307/1594507.

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Duangwises, Narupon, and Peter A. Jackson. "Evolving Thai Homoeroticism, Male Nudity, and Multiple Masculinities in Gay Magazines Since the 1980s-2010s." Asia Social Issues 16, no. 2 (December 23, 2022): e258105. http://dx.doi.org/10.48048/asi.2023.258105.

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This article details the masculine imaging of young male nude models. They posed for the homoerotic photos published in Thai gay magazines from the 1980s to the early 2010s, analyzing how these images reflected patterns of male homosexual desire. We consider how Thai gay men perceived these masculine images and how the representation of male nudity responded to and sustained Thai gay men’s sexual imaginations. It is not only the textual forms of discourse in the articles published in Thai gay magazines that tell us about the country’s gay culture and history. The images of the naked men photographed in these magazines tell us much about the culture of masculinity in Thailand, and the roles of media and the market in the formation and evolution of Thai gay culture. Drawing on visual sources, we investigate the relationships between male nudity, homoeroticism, and gay men as they were linked to one another in the consumer culture that formed the matrix within which modern Thai gay identity evolved over the three decades from the 1980s to the 2010s. Five male body types are identified in gay Thai magazines across the three-decade period of this study: the natural body, the muscular body, the metrosexual body, the full-frontal nude body, and the male body with tattoos and earrings. We explore the cultural and social contexts behind these homoerotic relations and the changing representations of the masculinity of the Thai male body. This article details Thai gay men’s desire for masculine sexual partners, drawing on the images in gay magazines to gain insight into the changing types of masculinity that Thai gay men have regarded as sexually desirable across recent decades.

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Yousefi, Hamed. "The Race for Appropriation: Blackness, Authorship, and Ligon on Mapplethorpe." October, no. 183 (2023): 50–74. http://dx.doi.org/10.1162/octo_a_00476.

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Abstract Where can we locate race/whiteness in theories and practices of appropriation—that defining practice of the “postmodern” moment of the 1980s? This article approaches the question through a close reading of Glenn Ligon's installation Notes on the Margin of the Black Book (1991–93). In this work, Ligon restages Robert Mapplethorpe's photographs of (mostly nude) Black men alongside textual quotations that discuss Mapplethorpe's work and the politics of interracial homo-erotic desire in the United States. Here, citation and annotation function as alternatives to appropriation's possessive strategy. The essay asks, if appropriation is a white avant-garde device for negating liberal notions of authorship, are citation and annotation its counterpoint for Blackness and Black authorship? The answer is sought through the interrogation of the different ways in which French and US copyright laws addressed authorship and Black subjectivity in the nineteenth and twentieth centuries.

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Flores-Villalobos, Joan. "“Freak Letters”." Small Axe: A Caribbean Journal of Criticism 23, no. 2 (July 1, 2019): 34–56. http://dx.doi.org/10.1215/07990537-7703266.

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This essay explores the archival presence of West Indian women in the archives of the Isthmian Canal Commission, the biggest repository of original documents regarding the construction of the Panama Canal. Using a 1909 photograph of a nude black West Indian woman found in a file labeled “Freak Letters,” it considers the difficulties of recovering historical subjects structured by imperial frameworks of productivity and perversity, tracing instead the counternarratives of mobility, affect, and self-determination that might have shaped this black woman’s life. Using this approach, the essay uncovers the archival logic behind “Freak Letters” and recreates the woman’s milieu, highlighting her mobility and diasporic connections. It argues that this woman’s embodied intervention simultaneously confirms and challenges the narratives of US empire that sexualized and limited her. Ultimately, the essay seeks to build an empathetic, archipelagic counterdiscourse as the basis for our explorations of subjects historically silenced or denigrated.

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Christiansen, Hope. "Rexer, Raisa Adah. The Fallen Veil: A Literary and Cultural History of the Photographic Nude in Nineteenth-Century France." Comptes rendus, no. 121 (March 27, 2023): 174–76. http://dx.doi.org/10.7202/1097966ar.

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Beggs, Margo L. "(Un)Dress in Southworth & Hawes’ Daguerreotype Portraits: Clytie, Proserpine, and Antebellum Boston Women." Fashion Studies 2, no. 1 (2019): 1–30. http://dx.doi.org/10.38055/fs020111.

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Young America: The Daguerreotypes of Southworth & Hawes (2005) is a monumental exhibition catalogue showcasing the work of Albert Sands Southworth and Josiah Johnson Hawes. Together the partners established a renowned daguerreotype studio in mid-nineteenth-century Boston that catered to the city’s bourgeoisie. This paper seeks to unravel the mystery of dozens of daguerreotypes found in Young America, in which elite Boston women appear to be nearly nude. The unidentified women stand in stark contrast to the carefully concealed bodies of Southworth & Hawes’ other female subjects. Why would they expose themselves in such a manner before the camera’s lens? This paper attributes the women’s state of (un)dress to their deliberate emulation of two sculptures in the classical tradition: Clytie, a marble bust dating to antiquity, and Proserpine, a mid-nineteenth-century marble bust by American neoclassical sculptor Hiram Powers. This argument first reveals how a general “classical statue” aesthetic prevailed for women’s deportment in antebellum America, then demonstrates that the busts of Clytie and Proserpine had special significance as icons of white, elite female beauty in the period. Next, this paper makes the case that Southworth & Hawes devised a special style of photography deriving from their own daguerreotypes of the two statues, in which the women’s off-shoulder drapery was deliberately obscured allowing their female clientele to pose in the guise of these famous statues. The paper concludes by arguing that the women shown in these images could pose in this style without contravening societal norms, as these mythological figures were construed by women and men in the period to reflect the central precepts of the mid-nineteenth-century “Cult of True Womanhood.” Moreover, the busts offered sartorial models that reinforced standards of female dress as they related to class and privilege. By baring their flawless, white skin, however, the women positioned themselves at the crux of contentious beliefs about race in a deeply divided nation prior to the American Civil War.

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Ramírez-Chaves, Héctor E., Juan Manuel Chaves-Salazar, and Richard Hernán Mendoza-Escobar. "New record of the culpeo Lycalopex culpaeus (Mammalia: Canidae) in southwestern Colombia with remarks on its distribution in the country." ACTA ZOOLÓGICA MEXICANA (N.S.) 29, no. 2 (August 31, 2013): 412–22. http://dx.doi.org/10.21829/azm.2013.2921118.

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We present a new record of the culpeo (Lycalopex culpaeus) from southwestern Colombia, and discuss the previous records and localities of the species in the country. The species is known from three confirmed localities; two of them are represented by voucher specimens and the third is presented here based on a photography obtained on 2011. All confirmed localities are located in the Nudo de Los Pastos, Department of Nariño, southwestern Colombia. Other localities and records of the species in literature are in need of more evidence that corroborate the presence of the species in these areas, while the records from the Central Cordillera in the Departments of Valle del Cauca, Tolima, and from the Western Cordillera in the Department of Cauca are considered erroneous.

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McDiarmid, Lucy. "A Box for Wilfrid Blunt." PMLA/Publications of the Modern Language Association of America 120, no. 1 (January 2005): 163–80. http://dx.doi.org/10.1632/003081205x36921.

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This essay analyzes the testimonial occasion organized by Lady Gregory, Yeats, and Pound to honor the poet and anti-imperialist Wilfrid Scawen Blunt (1840–1922). On 18 January 1914, Blunt welcomed six younger poets to his house in Sussex, where they dined on a peacock culled from his flock. At the ritual center of the meal was the presentation to Blunt of a marble box containing his guests’ poems; on the top of the box, designed by Gaudier-Brzeska, was a reclining nude woman. The dinner had a double purpose: to construct a poetic genealogy that would give meaning to a distinctly masculine literary tradition and to make that genealogy visible. Accounts of the event were planted in four journals, and the famous photograph, with the tall, impressively bearded Blunt surrounded by his scions, appears in all the poets’ biographies. With its potent combination of homosocial intimacy and artistic glamour, the “peacock dinner” claimed an important place in its participants’ memories and resonated in their writing for many years.

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Brevik-Zender, Heidi. "The Fallen Veil: A Literary and Cultural History of the Photographic Nude in Nineteenth-Century France by Raisa Adah Rexer (review)." French Forum 47, no. 2-3 (2022): 217–19. http://dx.doi.org/10.1353/frf.2022.a914329.

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Rossi, Leena. "Alastomuuden oikeutus: Julkistettujen alastonvalokuvien moderneja ideaaleja Suomessa 1900–1940 [Legitimation of Nudity: modern ideals in nude photographs published in Finland between 1900 and 1940]." Scandinavian Journal of History 34, no. 2 (June 23, 2009): 214–16. http://dx.doi.org/10.1080/03468750902880185.

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Chittenden, Tara. "Sexing up the secondary art curriculum: a strategy for discussing Robert Mapplethorpe's photographs of S&M and the black male nude in art classrooms." International Journal of Education Through Art 5, no. 2 (December 1, 2009): 157–67. http://dx.doi.org/10.1386/eta.5.2and3.157/1.

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