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try to make it looks vertical

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digital print:8 pound per book

inkjet print: 12 pound per book(not double side)

hardcover: 4 pound per cover

plan : 4 books with inkjet print.

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Lomography - The Hypersexualized Use of Female Bodies in Visual Art

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In the history of visual art, there is a disproportionate amount of female depictions; even more so in recent years as the world of image-making seems to be constantly growing. Here is a piece about the female body representation in visual art.

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Oda Iselin discovered Japanese anime and manga in the beginning of her teenage years, and became instantly obsessed. Searching an identity as a teenager, it was especially the mystery and the perfection of the sweet and innocent magical girls that she felt drawn towards.

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trying my mediocre hand at paneling I WORKED HARD ON THIS OK so I want you all to read it

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Panel Layout and Composition: The arrangement of panels and the composition within them play a crucial role in building suspense and directing the reader’s eye. Lambé can manipulate the pacing of the narrative through the size and placement of panels, using irregular or abrupt transitions to create feelings of shock or disorientation.

Facial Expressions and Body Language: Even with minimalist lines, Lambé captures complex expressions and body language that convey deep emotional states. Subtle gestures or looks can suggest underlying horror or dread, leaving much to the imagination of the reader.

Symbolic Imagery: Lambé often incorporates symbolic elements into his illustrations, which can carry multiple layers of meaning. These symbols might evoke themes of death, decay, or other dark motifs that contribute to the unsettling atmosphere.

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Minimalist Art Style: Lambé often employs a minimalist style with sparse, clean lines and a limited color palette. This simplicity can heighten the emotional impact of the scenes, focusing the reader’s attention on subtle details or the lack thereof, which can evoke a sense of isolation or alienation.

Use of Negative Space: He effectively uses negative space to create a sense of emptiness and solitude. Large, empty areas can make characters appear small or vulnerable, enhancing the emotional and psychological tension within the narrative.

Color Choices: Lambé’s selective use of colors often involves muted or dark tones that contribute to the overall mood of unease or somberness. When he does use brighter colors, they often contrast starkly with darker elements, emphasizing themes of conflict or disturbance.

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Why hadn’t I yelled, or elbowed him? The truth is, I thought for a moment I might be crazy, that I was making it all up.

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"I got out a book on Greek sculpture, which is the most academic of all....This piece was done in the method of the Greek sculptors...carving around and around the figure and whole layers would come off at a time until finally the aesthetic ideal had been reached."

Of course she did no such thing-make an academic sculpture, that is. What she produced instead was a work entitled Carving: A Traditional Sculpture in which the typical marble or bronze medium of sculpture was replaced with a grid of 148 black and white photographs of the artist's naked body. They are arranged in 37 vertical columns, corresponding to the number of days Antin spent following a diet plan proposed in a popular magazine for women. Each row consists of four photographs showing back, front, and side profiles, with a text panel at the bottom listing each day, time, and the artist's weight. When first exhibited, the photographs were simply pinned to the wall, eschewing the conventional use of frames in the display of art.

It is not sculpture per se, but the performance of sculpture. We might think of it as sculpture transposed into a living form, which is then presented as documentation-an analytical practice somewhat akin to laboratory research. The result might seem more informational than artistic.

Critiquing representations of women

Carving: A Traditional Sculpture could be seen as one answer to the rhetorical question posed by art historian Linda Nochlin's now famous essay published one year earlier: "Why Have There Been No Great Women Artists?" Nochlin's argument was that the history of art included few women, not because there were few women artists of note, but because art history was an extension of a patriarchal system in which women were excluded from almost everything. The answer Nochlin proposed was not to simply re-insert women into history, but to scrutinize the very structure of history itself: to analyze the role of women within patriarchy, and by extension in the history of art.

Antin's "traditional" sculpture is a witty and humorously feminist attack on tradition in which women were more often subjects than authors. Antin took the of sculpture as the subject of her work, thereby also following the dictates of Conceptual art, a dominant movement of the 1970s in which traditional notions of art were contested and redefined. Women artists at this time, in tandem with second wave feminism , embraced the Conceptual art movement's focus on concepts and processes, its adaptation of new media, and its overturning of past artistic conventions.

Though the ancient Greeks predominantly sculpted male bodies, the lasting tradition of Western art, which was rooted in the was one in which the bodies of women served as primary subject matter. Subjected to scenarios of classical ideal of ancient Greek and Roman art,violence and abduction, and the distortion, abstraction and idealization that supposedly served the higher goals of art, that tradition became a key target of feminist interventions into visual culture in the 1970s.

Dispensing with clichéd notions of beauty and femininity, in this piece Antin presents her body for the purposes of critical analysis (signaled by the detached presentation in black and white) rather than visual pleasure, thereby presenting a critique of the ways women had been depicted in the history of art. However, it was not just the Western tradition of fine art that Antin interrogated in this conceptual sculpture. Popular culture similarly demands that women hold to an idealized form of femininity. Antin's joining of these two mutually reinforcing systems-the weight loss program found in a typical "women's" magazine and the chiseling away of stone to reveal an ideal form in academic art-became the template for women artists in the 1970s and 1980s who were interested in examining cultural representations of gender. ( Mary Kelly and Cindy Sherman are two other important examples.)

Socially constructed, or essentially feminine?

Antin's Carving: A Traditional Sculpture was one of the first artworks that looked critically at how women are portrayed within the contexts of both art and popular culture, but it represented only one strand of feminist art in the 1970s. Antin's work could be viewed as an example of "social constructionism ." According to this way of thinking, imagery of women was seen as constructing , rather than simply reflecting, concepts of femininity.

A different school of thought, called "essentialism," argued that a truly feminist art meant finding and highlighting an essential female aesthetic experience. Instead of analyzing women's experience in relation to patriarchy, this approach argued that women's art should be celebrated as separate in its own right. Judy Chicago's massive installation The Dinner Party is an example of this theory. Created between 1974 and 1979, this work embodied a sense of essential femininity through a collaborative project that employed several hundred volunteers specialized in crafts (embroidery and ceramics, for example) that were typically associated with the domestic labor commonly practiced by women. The end result was a triangular dinner table with place settings dedicated to famous women in history and myth.

Whatever the differences between these camps (and those differences would form a rich area of feminist scholarly debate in the years to come), by the 1970s the issue of gender could no longer be ignored. We can get a sense of how vastly different the new climate was when looking at a particular moment in a film, released the very next year, in 1973, after Antin first exhibited her work. Painters Painting: The New York Art Scene 1940-1970 was a documentary of the school of painting that had reigned since World War II. At one point in the film, the artist Helen Frankenthaler, known for her stained abstractions in which pools of color saturated the canvas, was asked "What was it like to be a woman painter?" Like many female modernists, Frankenthaler had faced the hostility of critics who claimed women did not have the wherewithal to produce the heroically large abstractions of their male counterparts. But Frankenthaler was clearly uncomfortable with the question. Despite the fact that she had just given an impressive overview of the history of modernist painting and the problems it represented for her own generation of artists, Frankenthaler's only response to this question was a brief one-"well first of all I am a painter"-followed by an averting of her eyes. For the younger generation that came of age in the 1960s, this was no longer a tenable position. The personal was political, as the saying would go, but so too was the aesthetic.
Additional resources: This work at the Art Institute of Chicago The Dinner Party at the Brooklyn Museum
Eleanor Antin cited in Rozsika Parker and Griselda Pollock, eds, Framing Feminism: Art and the Women's Movement 1970-1985 (Pandora Press, 1987), p.271.

Linda Nochlin, "Why Have There Been No Great Women Artists?" (1971) in Women, Art, and Power and Other Essays (Thames & Hudson,1989).

Painters Painting: The New York Art Scene 1940-1970 , 1973, documentary directed by Emile de Antonio .

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Eleanor Antin, Carving: A Traditional Sculpture

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"I got out a book on Greek sculpture, which is the most academic of all....This piece was done in the method of the Greek sculptors...carving around and around the figure and whole layers would come off at a time until finally the aesthetic ideal had been reached."

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Has an artwork ever been more direct in acknowledging that the simple act of looking is a gendered (and gendering) act? "Your gaze hits the side of my face," admonishes Barbara Kruger in Untitled (1981). The phrase is made stark and impersonal by arranging the words in a vertical stack, like those of a ransom note, to the left of a photograph of a female portrait bust in profile. Notice how the head is equally depersonalized; a stylized version in the classical tradition whose neck disappears into a block of stone, the suggestion here is that women are rendered inert in the act of being looked at. With an assumed male viewer - the subject of the possessive phrase "your gaze" - the subject of the portrait bust readily conforms to patriarchal fantasies of the passive female object.

In 1981 the concept of the male gaze spelled out a crucial problematic of feminist theory. Could women truly be liberated from the objectification implied in this act of being looked at? John Berger in his 1972 book Ways of Seeing described the history of Western oil painting as a catalogue of submissive nude women arranged for the pleasure of male viewers. Kruger confronts this tradition head on. The phrase "male gaze" referenced in Kruger's title is taken from Laura Mulvey, who coined the phrase in her 1975 essay "Visual Pleasure and Narrative Cinema," a landmark text of feminist theory.

Kruger's art is characterized by a visual wit sharpened in the trenches of the advertising world where the savvy combination of graphic imagery and pithy phrasing targeted a growing population of consumers in the post-World War II years. The portrait bust she uses for Untitled (Your gaze hits the side of my face) is a found picture, one of any number the artist would have encountered in her early career in graphic design. This included a stint at Mademoiselle magazine, whose glossy pages were a virtual catalogue of stereotypical images of femininity. In the late 1970s, Kruger began to choose for her photomontages images of women that were often heightened examples of such stereotypes to which her addition of text would, often humorously, expose and thereby deconstruct the supposed realism of such imagery.

A 1982 work, for example, shows a silhouette of a woman's body partially outlined by dressmaker's pins and leaning forward in a chair marked with the words "We have received orders not to move." The text here is laid across the body's midsection, adding another layer of the idea of being pinned in place. The sense that women were trapped or immobilized in the act of being seen runs throughout her body of work from this period and underlines how common this kind of depiction of women was in advertising, particularly during the mid-twentieth century, the period from which many of Kruger's images were culled.

Kruger offers some resistance to the objectifying gaze of the titular male viewer. Only hitting the side in Untitled (Your gaze hits the side of my face), one imagines it bouncing off as if merely ricocheting. But it nevertheless makes strategically visible the tacit assumption of Western visual traditions: women are looked at; men do the looking. In feminist terms, this means that women are negatively defined as lacking subjectivity or agency. Kruger staged an intervention, one could say, and it is in this way that her work is considered part of the feminist art canon.

During the second wave of feminism in the 1970s, women artists sought, in different ways, to confront the problem of women's representation in art. Sylvia Sleigh's painting The Turkish Bath (1973), for example, renders a group of nude men in a traditional portrait genre usually reserved for women typified by the Neoclassical painter Jean-Dominque Ingres. Other artists, like Eleanor Antin (who also riffs off the classical sculptural tradition in Carving: A Traditional Sculpture, an important antecedent for Kruger) sought to subvert the usual depiction of women through unidealized and un-sexualized representations of the artist's own body.

A different tactic was to refuse representation of women's bodies altogether. Mary Kelly's monumental Post-Partum Document (1975), while an extensive portrayal of female subjectivity in relation to the mother-child relationship in psychoanalytic terms, makes no visual reference to herself or her body. Yet another approach was to develop a separate aesthetic predicated entirely upon women's experiences: Womanhouse was created by Miriam Schapiro and Judy Chicago in the early 1970s as a space to showcase feminist performances about rape or installations about menstruation. Finally, there is the use of craft traditions typically associated with the domestic labor of women. Elevating "craft" to a fine art became a symbol of the elevation of women themselves as they strove for inclusion and representation. Kruger's first artworks, in fact, were wall hangings that reframed craft in feminist terms. Despite the variances in approaches, at issue in feminist art practice was the place of imagery of women and artwork by women within patriarchy and in dialogue with political issues around gender and sexuality.

Kruger's work differs from her predecessors whose work I have just briefly outlined. She came of age as an artist at a time when many were taking existing imagery and then re-staging it in slightly altered form. The term for this was "appropriation," and it defined the strategy of a new generation of artists who wanted to refute modernism through invalidating ideas of originality, uniqueness, and even authorship. They became known, as did Kruger, as postmodern artists. Interestingly, many of these artists were women. Already critical of modernism because of its male-centered ideology, they filled the ranks of postmodernism to such extent that the critic Craig Owens described this congruence as a "crossing of the feminist critique of patriarchy and the postmodernist critique of representation." Sherrie Levine re-photographed a suite of images by the photographer Walker Evans in order to void his authorship. Cindy Sherman appropriated the cinematic tropes of Hollywood whose stock and trade was the vulnerable female in trouble and re-staged them using herself as model. While feminist art (and postmodern art) was largely a white movement, later artists such as Lorna Simpson, Carrie Mae Weems or Kara Walker would expand upon these earlier artistic strategies to address the intersection of race and gender.

The art of the " Pictures Generation " as these postmodern artists came to be called, was glossier, slicker, and more enamored of media culture than what had come before, to such an extent that the cultural critic Fredric Jameson worried that art and advertising had become one. Of course the aim was to critically analyze such imagery; Kruger redeployed its seductive techniques, usually pressed into the service of enticing consumers (and historically much of it was aimed at women consumers), to expose the subtle and pervasive ways in which stereotypes of gender roles were reinforced through advertising and cinema (later works by Kruger would target consumerism directly).

Deconstructing the supposed naturalism or ordinariness of these cultural fictions of femininity took on, within the larger political context of the feminist movement, an often agitprop or activist gloss. "Your body is a battleground" was produced for a 1989 women's march on Washington. Confining her imagery to black and white with the eventual addition of red was clearly a nod to the photomontages of Russian avant-garde artists in the early twentieth century. In the first years after the Russian Revolution, artists sought to harness the power of technology using photography and film to reach mass audiences and unmask false ideologies.

Much like the factory murals and posters of Russian avant-garde art, Kruger sought a broader audience outside the gallery. Her work would appear on billboards, train station platforms, bus stops, public parks, and even matchbook covers. In the early 2000s the street clothing brand Supreme acknowledged that Barbara Kruger was an inspiration for their logo, a white Futura font within a red box. Despite its critical stance toward the advertising industry, Kruger's unique graphic style couldn't help but ultimately become influential in packaging and product design. Had Jameson been right about the collapse of art and advertising? Did the promotional and publicity structures of a consumer society eventually absorb postmodernism and thereby render its critique neutral?
Additional resources:

Laura Mulvey, "Visual Pleasure and Narrative Cinema," Screen, Volume 16, Issue 3, (Autumn 1975): 6-18.

Craig Owens, "The Discourse of Others: Feminists and Postmodernism," in Hal Foster, ed., The Anti-Aesthetic: Essays on Postmodern Culture (Seattle: Bay Press 1983): 78.

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Barbara Kruger, Untitled (Your gaze hits the side of my face)

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Kruger's art is characterized by a visual wit sharpened in the trenches of the advertising world.

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Shop for staring wall art from the Conde Nast collection of magazine covers and editorial photos. All staring artwork ships within 48 hours and includes a 30-day money-back guarantee. Choose your favorite staring designs and purchase them as wall art, home decor, phone cases, tote bags, and more!

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What is it about art that intrigues a viewer and keeps his or her attention? Is it the colors? The medium? The brushstrokes? Is it that the subject is beautiful or enigmatic? Inevitably, all of those elements draw the viewer in, but what holds a person's attention? In many cases, the gaze is what pulls in and grips the viewer. The subject's eyes are what makes the viewer feel something.

The gaze in portraiture has been studied and discussed extensively. The way that the artist chooses to capture the gaze can dramatically change how a viewer perceives the work and the person depicted in the portrait. Imagine, for example, if Leonardo da Vinci had painted the Mona Lisa gazing off to the side, away from the viewer. Would she still be as well-known and as captivating four centuries later?

Choosing where the subject looks is a powerful way for an artist to shape the public's interpretation of a piece. Artists also use the gaze to deliver a message about the subject. Will the subject look at the viewer softly, with intensity, or not at all? And what does that say about the subject, the group, or the era that he or she represents? In this article, we'll examine the impact of the gaze and how it affects the viewer of the piece.

Oscillation of The Gaze

Ultimately, artists have control over their subject's gaze. However, there is a clear pattern of what has been en vogue for different generations of artists. There are clear periods when a cohort of artists depict their subjects with a direct, penetrating gaze.

Other times, artists capture the essence of their time and the culture by painting subjects with demure or shy looks, eyes directed away from the painter. Society's opinion of groups of people and the overarching morals of the era impact how artists paint their subjects.

The Scientific Impact of The Gaze

Recently, researchers in the Czech Republic studied the neuronal and behavioral responses of viewers to paintings where the subject looks directly at the public. The researchers found that people spent more time observing and studying portraits in which the subject looked directly at them.

What is it about the gaze that captures observers?

In their study, the researchers discovered that when looking at a painting with a direct gaze, the viewer's brains would activate similarly to when a person is being observed by another living person. The power of the gaze in portraiture is so strong that it can affect humans as deeply as if the subject of the portrait were actually staring back at them.

The Power of The Gaze

Portraits are intimate. As viewers, we can feel as if we're intruding on a moment between the artist and subject, or between the subject and the recipient of the painting. But what if that's the point? Philip Hensher of The Guardian asserts that, in some cases, intrusion into the intimate may be the exact purpose of a piece.

What if the artist is using the gaze to draw you into a moment or scene in which you would not otherwise participate? What if the entire purpose of the painting is to envelop the viewer in an intimacy that would not normally be possible?

The joy of interpreting a painting is trying to imagine what the subject's expression means and for whom it was intended. The detective work of taking in a painting could be the single most captivating thing about portraiture. It may be the reason why, for so long, humans have tried to capture our own likeness or the likeness of others. We're captivated by one another and the way in which others live their lives.

Portraiture has a captivating, beautiful way of letting the viewer in on intimate moments through the subject's gaze. One of the most intriguing aspects of the gaze is its circular nature. When the artist and the subject are locked in a perpetual stare, the viewer begins to wonder who was really observing whom?

Art Should Make You Feel Something

No matter the direction of the gaze or the expression behind it, art makes you feel something, which is the entire purpose, isn't it? No matter where the subject of a portrait directs his or her gaze, the expression captures something innately human and relatable, which might just be the artist's express purpose.
If you have a vision that can only be served by a fine art painting, then the right time to commission a piece is now. Request more information on commissioning a fine art portrait from ., or give us a call at 1-800-476-1223 today.

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The Power of the Gaze: How Artists Evoke Emotion Through the Eyes

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What is it about art that intrigues a viewer and keeps his or her attention? Is it the colors? The medium? The brushstrokes? Is it that the subject is beautiful or enigmatic? Inevitably, all of those elements draw the viewer in, but what holds a person's attention?

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I found that staring can make people feel uneasy and anxious. Different cultures have different views on staring, influenced by factors like age and social norms. Legally, while staring might not always be considered harassment, it can still invade someone's privacy. This study helped me understand the complexities of staring and inspired me to explore it further.

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1.Firstly, staring commonly occurs in public settings such as train carriages, bus stops, elevators, gyms, etc., where strangers' social boundaries are frequently breached.

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2.Staring often induces feelings of pressure, discomfort, unease and  self doubt particularly among women

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3.Despite experiencing this form of harassment, many individuals remain uncertain whether it constitutes sexual harassment.

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Just like when I've been catcalled or groped in a bar, being stared at suggestively or threateningly in public has made me feel dirty, naked - like I've done something wrong by merely existing. It makes me question myself - the way I look, the way I hold myself, the way I live. It makes me feel unsafe.

To discourage accountability for sexual harassment - and yes, I shall stress again, intrusive staring with sexual intent counts as such - is to take even more power from women and other vulnerable groups as they try to make their way through daily life.

Sexual harassment is defined by Rape Crisis England & Wales as "unwanted sexual behaviour that makes someone feel upset, scared, offended or humiliated". Staring, leering or suggestive looks are all considered as examples of sexual harassment.

Sexual harassment doesn't begin and end with words and attempted groping. It is a spectrum, like so many forms of abuse.

Further to this, the organisation states that the person being subjected to this behaviour should be the one defining what is happening to them, but it seems others are looking to take it into their own hands.

We saw this within a different public discussion of sexual harassment when it was announced earlier last year that cyberflashing - sending an unsolicited sexual image to somebody digitally, over Airdrop or WhatsApp for instance - is set to become a criminal offence. Some have criticised this development, questioning if it should be made illegal.

One critic posted on Twitter: "Have the people behind the Online Harms Bill never been on dating apps? People sending pics of their bits without asking first is grim, but to be made illegal? Really?"

What critics miss when questioning the seriousness of issues like cyberflashing and unsolicited (and threatening) staring in public is that sexual harassment is not limited to catcalling in the street through words, and groping in bars. If an action isn't asked for and causes someone considerable distress, why shouldn't it be punishable?

To deny facets of sexual harassment like this their significance is - like so many elements of the patriarchy - putting the responsibility on the vulnerable, and potential victims, to do the work of explaining and distinguishing inappropriate behaviour, instead of those who are actually performing said behaviour.

It signifies a lack of empathy at other people's discomfort and their boundaries.

We shouldn't have to wait for voices to be raised or for bodies to be groped before we take action. To be told to accept this kind of behaviour is to give potential abusers - or at the least complete strangers - unwanted access, a claim to your safety and security that they do not deserve.

Although certain "casual" actions may appear to be vague, ambiguous or unworthy of criminal charges to those in a position of male privilege and power, they could be the deciding factor for whether someone more vulnerable feels safe. It's time for us all to stare this threat full in the face.

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Every single woman has experienced intrusive staring from a man. We can assure you that it is a form of sexual harassment

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London mayor Sadiq Khan and Transport For London have stated that unwanted staring will not be tolerated with new campaign posters.

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the research plan

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Using Transparent paper  as a filter to adding the dark

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scan 400/600
size

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the concept of the clothes
The size of book
The page
How to show the transparent
The storyline

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Story Summary:

The protagonist, a woman shrouded in a transparent protective clothes, steps into the underground—（The reason for choosing underground as the setting for the story is based on research indicating that public yet enclosed spaces are the most prone to incidents of sexual harassment. ）Upon entering, she immediately becomes the target of unwelcome stares. Trying to ignore the unsettling gaze by engrossing herself in her phone, she still feels her personal space being invaded and discomfort swelling within her. The transparent clothes, meant to shield her, seems to shrink under the invisible pressure of those invasive stares, eventually clinging tightly to her body. The woman, now encased as if vacuum-sealed, symbolizes the objectification women endure under such scrutinizing eyes.

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Story Setting: In a surreal narrative, I try to exaggerate the likelihood of harassment against women. In this world, to circumvent physical harassment, women don a special clothes resembling a transparent protective layer. （This setting aims to satirize societal demands for women to alter themselves to avoid harassment.）

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special composition (for example: eyeball)