Marcel Duchamp Cubism

Nude figures have been featured in art works since around 30 to 25,000 B.C. And throughout the history of art, we can see a lot of artists being inspired and influenced by great talents before them, in one way or another they would carry the style or ideas of those previous artists into their own art and create new masterpieces. One particular example is Édouard Manet’s Olympia from the Realism period, and Yasumasa Morimura’s Futago. The two paintings share great similarities in their composition, but the content and purpose of the paintings, and style wise the two pieces are very different.

As you begin Beauty (Re) discovers the Male Body your read of author Susan Bordo spilling her morning coffee over a shockingly sexual advisement of a nude man. Initially, I rolled my eyes and settled in assuming, I was going to read about the tragedy of how men are now being objectified and exposed in adverting like women. As I flip through the pages looking at the scantily clad images I’m not really shocked; this essay was written fifteen years ago; I see these kinds of images going to the mall. What was shocking, however, was how Bordo a published, woman philosopher born in 1947 wrote about these images. I felt myself blush as I read “it seems slightly erect, or perhaps that’s his nonerect size, either way, there’s a substantial presence

{Berger defines nakedness “as being to oneself”.} {Nudity is “to be seen naked by others, not recognizing oneself’’}. An example of one of many nude paintings is a the dark-haired women posing in the bathtub holding her hair. In the photo the women is wanting to be intoxicating and looking as if she wants to be seen as an object of sex and also put on display her body off to the world. So, she is giving herself up as a object willingly. In the painting, “Nell Gwynne”, by Lely, the women is showing submissiveness to the painter/owner. She is also wanting to display herself for the enjoyment of men.

 To adequately understand today’s view of a woman’s breast, one must know the background. The main purpose of the breast, otherwise known as the mammary gland, is to produce milk throughout the infant stages of childhood. This being factual, the breast was looked upon as a giver of life in times of the prophet Jesus Christ. Paintings and sculptures delineate this by women having one or both glands exposed while in the presence of a child. The strife people see today with these paintings was never reflected by the artists of the era because the perception was different. Responses of strife weren’t applicable until the Victorian Age in the mid-1800s when women were expected to cover more of their body.

For centuries, the objectification of women has become the norm, forever portraying them as submissive and passive for the benefit of the male gaze. Eternally capsulated in a world, perfected, unanimously the viewer and viewed alike. Jenny Saville defies expectations in creating the female nude with herself as both subject and painter. Taking on the roles given to women by men and making them her own, Saville elevates the status of women by making them their own judge of beauty. Kenneth Clark, a renowned art historian of his time, believed to create a form of art, the nude must be reformed and not directly recorded from life. In doing so, scouring away all evidence of the woman before the painting, before being perfected.

Hannah Wilke’s 1974: S.O.S. Starification Object Series. S.O.S. features twenty eight photographs of Wilke semi-nude and covered in chewed pieces of gum, each shaped to look like a tiny vulva, which dot her body like ornamentation or chicken pox as she models various pin-up poses. In each photo, Wilke references various fashion and beauty iconographies typical of the 1970’s. Wilke’s photo series plays off of the male gaze and attempts to, “[parody] traditional representations of ‘femininity’”

Some critics declaim that Jones’ presentation of the naked bodies on stage is highly inappropriate and unnecessary. However, his intention behind this entire piece is to provoke the essence of discomfort and articulate realism in order to project the issues eventuating in the society. Jones clearly intends to confront his audience with this mass nudity, as if to say "You say you hate racism, sexism, and homophobia, but what do you really feel? Do you feel a shock when men kiss each other, or when a white woman wraps her legs around a black man?" New York Lives Arts Critique One critic calls the ending “optimistically impossible” alluding to the drastic leap in the piece from tackling controversial issues like racism and sexism, to cooperating naked bodies on stage all laughing, dancing, and signing together. Jones’ intention with this piece was to not only shed light on the different controversial issues, but to also () and open declaration of war against intolerance, criticism, and injustice. Jones says, “if there is any place where the impossible should happen, it should be in the realm of art […]. I call it a leap of faith”

We divided the project up amongst each other. The first 10 slides belonged to Margret while the last 10 slides were mine. By dividing the project up into sections it gave us time to individually focus on each of our pictures. Margret and I initially got together to discuss the logistics of the project and why we wanted to pursue with it. We then got together to view our finding and then alter our captions and replaced photos as needed. We had decided, as stated in my opening paragraph, that because the body of the female should be viewed as more of temple rather than an object to be dressed up. Ultimately, lingerie was not just dressing up a doll, it was meant for daily practical wear. However when society modifies and sexualizes itself more, lingerie’s true meaning had gotten

Paula Modersohn-Becker was a female artist whose self portraits opened up a new path of self expression of European female self portraitures within the 20th century. For years, nude portraits were created primarily for male gaze; female models were purchased by male artists and were painted as sex objects. Paula Modersohn-Becker rebels against this sexist norm by simply being her own muse. Modersohn-Becker’s use of the female nude was a powerful reclaiming of her own body. A new trail was blazed in 1906, with her painting Self-Portrait, Age 30, 6th Wedding Day. In the painting, for the first time, the partially nude model is the artist herself. She stands there, looking at the

One thing I found interesting is with Marcel Duchamp's Nude Descending a Staircase is that it follows the notion with Jirousek’s photo art, that it a time-lapse photography. I am not a fan of his work, and I believe the uproar that came about due to his painting was just, even though it was for a different reason, I do not like it because it is very abstract and hard to

The nude has historically been one of the central subjects of art, but yet it remains a subject of controversy and censorship in the United States. The natural beauty of the human body inspired painters, sculptors, and photographers for centuries. Nevertheless, exhibition spaces frequently decide to censor artwork containing nudity to protect children from what some might think is indecent, or simply to avoid controversy. Western art glorified the nude during the classical Greek and Christian transformations. Evidence of nude carvings and sculpture during the Paleolithic era have been unsurfaced too, but people still frequently attempt to stop others from viewing or learning from the human form, thereby infringing on their rights to create and consume art as they wish.

While the human form has always been acceptable in art, the nude female form continues to stir

The central belief of history is that most Pop artists personal reason was to purely to be artistic and creative in the creation of their work. Nowhere is this clearer than in the amount of attention Pop artists commited to the issues of Eros, understand both narrowly under the rubric of the erotic and more broadly. We have already seen considerable bodies of work devoted to facets of the subject in the output of Lichtenstein and Indiana. This examination is of those artists for whom the issues of sex and love ere even more central to their Pop production: Mel ramos, Tom Wesselmann, John Wesley and a pair of women: Marisol and Roslayn Drexler. What is interesting to observe is how differently the subject was described by the two genders. Whereas the men, like those discussed earlier, were concerned with issues of desire, the two women understood the arena largely in terms of male aggression. That these artists, unlike their homosexual colleagues, were able to express themselves so openly on matters heretofore virtually excluded from American art was the result of a huge shift in national attitudes towards sex that began in the 1950.

Pablo Picasso’s Les Demoiselles d'Avignon, painted in 1907, is considered to be one of the most innovative works of its time. However, when he showed his canvas to a group of painters, patrons, and art critics at his studio, Picasso managed to offend the Paris art scene. His painting, which took nine months to finish, is met with almost unanimous shock, distaste, and outrage. After the painting was first shown, it remained largely unseen for thirty-nine years.

In a ‘tradition breaking spirit’ [D’Alleva, 2012], that characterised modernist artists, early in the twentieth century, Duchamp abandoned traditional ideas and techniques, to create a new kind of ‘art’, one that the idea behind a work of art is more important that its visual realization, the ‘retinal’. The ready-mades was the product of Duchamp’s questioning what art is.