My goal is to neutralise the body by featuring culturally underrepresented body types in settings that suggest a different starting point for the dialogue about our bodily differences. I struggle to think of an example where adult nudity is permissible outside of a medical and sexual context in western society. To me, photographing the nude has nothing to do with sexualisation of the flesh but rather how we carry ourselves in a state of undress. It’s possible that this is due to my cultural upbringing, which was devoid of religion or sexual shame. My models were then framed as works of art in a museum, in the hope that the viewer will suspend any judgments about whether they find the models sexually attractive or not, or whether their bodies are “socially acceptable.” The museum is often one of the only settings where we can encounter non-judgemental adult nudity, hence why I am thrilled to be exhibiting these pieces in an actual museum. “The exhibition features a few images from my Studio Practice series, which was made possible by my long-term collaborator and model Angelina Duplisea and two of her wonderful friends, who submitted to hours of being body painted by makeup artist Sara Tagaloa to become human sculptures. Why is that? Why don’t we turn the camera towards men now? But I sense that there is an internalised anxiety and questioning of the nude that one can see as a thread through the whole exhibition. I find that interesting, that nudes often equal women. ”I am not sure I, as a woman, will change the perspective of the nude tremendously – walking into the show I think you will notice that the majority of nudes depicted are still female bodies. It is a photo that I love but is very hard to post on the big online platforms, so I am very happy to be able to show it to a wide audience at Fotografiska. The show also features a photo of my friend Adam Pettersson’s bum and balls through Lazoschmidl underwear and with a cherry on top. Selfies are also an art form that is considered to be feminised and lowbrow. Still lifes were previously seen to be a more suitable art form for women because they didn’t require nude studies. “I am showing a version of my Cherry Picking show which is a mix of still lifes and selfies. Here, seven of the artists featured in Nude talk us through their exhibited works and their individual approaches to photographing the body: This collection of contemporary female artists using the nude body as their language, be it their own or others, for the sake of art, beauty, representation, self-expression, as a subject and object, is an example of what this new nude is and what it looks like.” A consideration most often decided and depicted by men, for an audience of men. “In art, we have mostly been presented with the same kind of nude through our modern western history. “Unlike painting, photography is not a medium that has been ‘owned’ by men for centuries,” says co-curator Johan Vikner. Among the artists featured are Dana Scruggs, who has explored the Black male body Japanese artist Momo Okabe, whose raw imagery documents trans and non-binary individuals artist Luo Yang, who has spent her career capturing underground youth culture in China and Lina Scheynius, who has turned the camera on herself. ![]() Offering a fresh new perspective on the nude, a new exhibition opening at Fotografiska New York investigates the body through the lens of 30 female-identifying artists from around the world, each of who have photographed the body in beautiful, disruptive, and experimental ways.Įxploring ideas of the nude as both an “idealised form”, as well as more honest and personal artistic expressions of the subject, the exhibition’s 200 works celebrate a plethora of identities and perspectives on nakedness. ![]() And, while many instances of nudity are celebratory, it’s also a fact that this kind of imagery goes hand-in-hand with issues around objectification – particularly of women – harmful beauty standards, and a lack of representation of marginalised groups. Centuries of art, decades of film, and today’s omnipresent digital media provide ample evidence of this collective fixation.
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