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Cardboard

a throwaway item that is easy to cut into and take part.

easy to manipulate.

when wet it disintegrates.

not built to last.

easy to move.

and associated memories of moving.

Pins

sharp and cold,

can cause pain or sensation.

holding pieces together.

Hard to brake.

Gestures that are made from Cardboard, that can be quite personal too one person rather than another. The Cardboard comes from boxes that are Flat and the pins are old sewing needles that works together to hold theses pieces in place. how will the carboard hold when there Wet or left out in the elements for a long period time. Will the gesture stay or morph into a mush of Cardboard?

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not in my world

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LockDown For front line worker

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part 1

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a start to the final piece

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ref to Amanda Charchian  and how se blocks out the body

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Claude Cahun self portrait c.1927 courtesy Jersey Heritage collections

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Claude Cahun self portrait c.1927 courtesy Jersey Heritage collections

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Lumber brothers style movies.

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Claude Cahun Aveux non avenus. Illustré d’hélio-gravures composées par Moore d’après les projets de la’auteur. Préface de Pierre Mac Orlan, courtesy of the British Library

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Claude Cahun Aveux non avenus. Illustré d’hélio-gravures composées par Moore d’après les projets de la’auteur. Préface de Pierre Mac Orlan, courtesy of the British Library

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put together with art board on photoshop.

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masking 2

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staurtaion up to the fullest

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masking duped and plaed diffent backround of the plug behind.

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masking and laryed

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Making colour with staution change and rezing

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this being painted could be a good idea with vibernt colours 

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this being painted could be a good idea with vibernt colours 

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Throwing shapes, my own work

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larys with stauration change, shapes with diffrent opcatity.

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giving my self nightmares.
masking with and taking the backround out.

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nightmares pt 2

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playing with shapes and layers. Colour bing dropped in to complemet the colour of the Pinapple.

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laying with drawings over both

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Resized images and made into a gif

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Natural gestures is a video performance of two hands exploring space.  Natural gestures spreaks about how touch and being affectionate is very natural way to communicate. How wanting that affection is natural. This was performed with a women who idenifys as bi sexeual and myself, who idenifys as a lesbian. The emotions of the piece lies in the music and the rising of the spetrem of colours.

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Femmebodiment: Notes on queer feminine shapes of vulnerabilityUlrika Dahl

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Femmebodiment: Notes on queer feminine shapes of vulnerabilityUlrika Dahl

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Abstract
In a time when worlds, communities and subjects are increasingly presented as ‘vulnerable’, much remains to be said about the distinctly feminine shapes of ‘vulnerability’; weakness, softness, permeability, a sense of being affected, imprinted upon, or entered and shattered. While this presumed vulnerability of the feminine body has often been the basis of feminist sexual politics, feminist goals of autonomy often presume an internal and external undoing of vulnerability as such. Drawing on ethnographic research with queer femmes and building on Sara Ahmed’s idea that vulnerability is a ‘particular kind of bodily relation to the world’, this experimental article challenges the popularised idea that to queer femininity requires action, intention, agency and strength. Extending the work of femme authors Dorothy Allison and Ann Cvetkovich, the article considers the cracks in such femme politics, and focuses on how femme feelings of vulnerability take shape and figure in movements, and become what sticks between femme bodies of flesh and knowledge. Attending to the sensuous canvas of skin, to high-heeled movement and desire for both sex and sisterhood, these are notes on the work of affect in what is here called femmebodiment towards a somatechnical understanding of femininity.

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still high shot

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based in free the nipple campain, this protest script to ehy free the nipple should be a be at the frounts of everyones mind. women shouldnt be sexulzed for there bodys that they share the same with males.

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Nan Goldin, demonstrations against the Sackler family & Purdue Pharma at the MET (left) & Guggenheim (right), 2019

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Nan Goldin, demonstrations against the Sackler family & Purdue Pharma at the MET (left) & Guggenheim (right), 2019

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Nan Goldin & P.A.I.N., Die In at the V&A, 2019

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Nan Goldin & P.A.I.N., Die In at the V&A, 2019

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Big Pharma & Dirty Money in Art

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28.00 minutes
Projected video collage
Soundtrack developed in collaboration with Theresa Stroetges

Sex in Public

Sex in Public re-appropiates descriptions of sexual encounters in public spaces from literature written by gay men. The texts are edited to be read as autobiographical and are collaged together with a script comprised of cut-up's from discourse around sexual politics, urban planning and the role that social space plays in shaping identity. The overlapping elements propose an alternate sexual narrative that considers non-domestic, analog forms of intimacy as an important part of our daily lives.

The piece is developed with an audio/visual backing track that I insert myself into working with a form of drag performance.

Appropriated texts include excerpts from;
Joe Orton - The Orton Diaries
David Wojnarowicz - Close to the Knives, A Memoir of Disintegration
Samuel R.Delaney - Times Square Red, Times Square Blue
Sex in Public - Lauren Berlant & Michael Warner

Press
︎VAI News Sheet, interview with Daniel Bermingham, Emma Haugh & Eimear Walshe, July, 2018 (IE)

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28.00 minutesProjected video collage Soundtrack developed in collaboration with Theresa Stroetges Sex in Public re-appropiates descriptions of sexual encounters in public spaces from literature written by gay men. The texts are edited to be read as autobiographical and are collaged together with a script comprised of cut-up's from discourse around sexual politics, urban planning and the role that social space plays in shaping identity.

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The Re-appropriation of Sensuality

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Sex in Public installation
Flags for queer cruising sites
Applique, velvet, upholstery fabric, satin, cotton, ribbon, woven ribbon, denim, dimensions variable, 2018

Clothes for queer cruisers
Appliqué on clothing, dimensions variable, 2018

Dyke Action
Photographic series made in collaboration withLine Skywalker Karlström in a performative cruising action at the men's cruising area near the Teufelssee, Berlin, 2018.

Sex in Public
Video animation with sound developed in collaboration with Theresa Stroetges.

Poster stack

B&W multiple A3 photocopies, wall pasted, dimensions variable. Install images above: Emma Haugh Below: Barbara Proschak

Sex in Public / Dyke Action

The installation Sex in Public comprises Flags for Queer Cruising Sites, Clothes for Queer Cruisers, and the wall-pasted black-and-white photo series Dyke Action alongside video and audio piece Sex in Public. The photo series documents a performative cruising action Haugh made in collaboration with artist Line Skywalker Karlström, in which flags and clothes become performative objects or talismans for desire that Haugh uses to propose a queer iconography of connectedness and identity shifts. The video animation consists of found material including images of domestic space, an audio track with a text collage made from theory around sex in public, and re-appropriated texts from gay men's literature.

Haugh's works raise questions about the role of social space in shaping identities. What roles, meanings, and attributions are ascribed to communal and public spaces, and how do they impact non-normative bodies? What influence does this impact have on social visibility and safety?

Haugh engages queers in collective acts of ritualized land and property reclamation to develop a shared imaginary and re-appropriate sexual utopias that feed a transformative queer politics, either for pleasure or for care. Her performative works propose an alternate sexual narrative seeking to bring analogue forms of intimacy and touch out of the domestic sphere into the public.

Text by Nadja Quante
e-flux exhibition announcement

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2018 Sex in Public / Dyke Action - emmawolf

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Sex in Public installation Flags for queer cruising sites Applique, velvet, upholstery fabric, satin, cotton, ribbon, woven ribbon, denim, dimensions variable, 2018 Clothes for queer cruisers Appliqué on clothing, dimensions variable, 2018 Dyke Action Photographic series made in collaboration withLine Skywalker Karlström in a performative cruising action at the men's cruising area near the Teufelssee, Berlin, 2018.

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ideas and thoughts about the talk

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the idea of a family dynimic and eithcs in showing that work

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It is just about 30 years since Richard Billingham picked up a camera and focused it on his alcoholic father, Ray, and his violent mother, Liz, and the Black Country council flat in which they lived. The pictures were intended as studies for paintings, but they took on a life of their own. A tutor on Billingham's art degree course at Sunderland University came across the photographs in a plastic bag and Billingham ended up displaying them in all their flash-lit squalor: toothless and shirtless Ray cradling pop bottles of home brew; Liz, with her lavishly tattooed slabs of arms and vast floral print frocks, lost in her jigsaw puzzles or TV dinners. Taken together - "Ray's a Laugh" is what Billingham called them - they seemed to provide a tragicomic through-the-keyhole of degraded post-Thatcherite Britain. Charles Saatchi included Billingham's work in his 1997 Sensation show, alongside Damien Hirst's shark and Tracey Emin's tent.

Up until their premature deaths about a decade later, Billingham's parents were mostly oblivious to the fact that they had generated a Turner prize nomination and global gallery fame. Billingham, however, who made his reputation as an art photographer on the rawness of those pictures, still felt he had unfinished business with them and with his adolescence. The result of that is , a feature film he has written and directed that breathes claustrophobic life back into the original stills. In advance of release, it was shortlisted as an outstanding debut by Bafta and won the same category at the British independent film awards.

When he was setting out on the journey to make the film nearly three years ago, I spent a day with Billingham in the streets around Cradley Heath, west of Birmingham, where he grew up. We went up to the 14th floor of the refurbished former council block where the film was partly shot, with its carefully reconstructed 1970s peeling wallpaper and cigarette fug. At the time Billingham, along with his indefatigable producer Jacqui Davies, was launching a Kickstarter campaign to try to get the film off the ground. In the event, that campaign raised around £20,000 - plus a good deal of crucial awareness - toward a final begged and borrowed budget of £700,000 or so.

Billingham sat back then in a local cafe along with Deidre Kelly ("White Dee" of the Channel 4 documentary Benefits Street, who plays the older Liz in the film) and talked, in his halting, introspective way, about how he envisaged the movie as "a triptych", of three intense fragments of childhood memory. That is how it has turned out. In the first part of the film we watch the older Ray (played by Patrick Romer) around the time Billingham made his photos, trapped in his bedroom, uncertain whether it is day or night, taking delivery of his plastic bottles of booze from a friend and slowly draining them, shouting out to the estranged Liz through the flat window.

The second part of the movie shifts back to when Billingham was about 10 and the family's problems first spiralled after Ray lost his job as a factory machinist, and was conned out of his few grand of redundancy money. That memory involves an incident with Billingham's childlike Uncle Lol, who is left in charge of Richard's baby brother Jason, events that reveal Liz (played brilliantly as a younger woman by Ella Smith) in all her destructive rage.

The third part of the film focuses on the days before Jason, then seven or eight, was taken into foster care having spent a winter night in a garden shed far from home without Ray or Liz even noticing he was missing. Those shorthand descriptions are about all the action in Billingham's film, but they do not begin to explain the layers of complex neglect (and frequent brutal human comedy) that are re-examined.

Billingham is, in person, both protective of that past and in some ways dismissive of its impacts. He has found ways, if not of processing it, then at least of framing it. He doesn't blame his parents. Things could have turned out worse. As he said to me last week, looking back on it from his home in Swansea: "Jason often says to me now that, statistically, we should either be in prison or dead or homeless."

People on the streets have a social life parallel to ours, but separate. You glimpse how they see us, from low down

That they aren't, Billingham puts down to two things: elements of luck, and the fact that both he and his brother had "a love of nature" gleaned from watching David Attenborough documentaries and nurtured by annual childhood visits with Liz to Dudley Zoo, the highlight of his year. These outings, he believes, looking back, gave both him and his brother - who kept a box of pet snails under his bed - a way of seeing; a sense that the alcoholic chaos of family, caged and confined in its four walls, was not all the world.

In some ways, I suggested to Billingham, the finished film shifts the emotional heart of his pictures away from Ray and Liz and on to Jason, who experienced the worst fallout of their dereliction. Billingham depicts himself as numbed and helpless in protecting his brother. He smiles at my suggestion that the film is a fraternal love letter, but concedes that certainly those were the hardest parts for him to reimagine. Was a misplaced guilt at not having done more for his brother one of the motivations for needing to explain that past to himself again?

"Well, I had to look after myself, I suppose," he says, after a pause. "And it's the parents' job, isn't it, to look after the little one?"

He carefully reconstructed some of his brother's memories - "how did that smell?", "what did that look like to you?" - from a series of conversations with him. It was important to Billingham not to make it a film about his own experiences; he was afraid that might come over as self-indulgent. "Also, I am present in that I wrote it and directed it. I am there anyway."

Jason still lives in Birmingham, where he works as a road-drainage surveyor, mapping motorway puddles (and "probably earning more than me," Billingham says). I wondered what he had made of the film?

"I showed it to him on a link early on, and he said it was just how he remembered it. And there was a screening at the Midlands Arts Centre in Birmingham and he came with a dozen people, friends. Jason was laughing at it mostly. But the other people he came with were all in tears. He was very impressed that it was nominated in the Baftas, which was something my mother used to watch, I think, and he liked the fact that his story might be part of that, that something seemingly very small can become something important."

Do they talk about Ray and Liz much?

"A little bit. But I probably only see him once or twice a year, and we never talk on the phone."

Billingham has three children of his own, the oldest 12. He has settled in Swansea, his wife's home city, though you get the sense he still carries those Black Country landscapes around with him in his head. His camera in Ray & Liz dwells with rapt attention on the few objects around which his childhood closeups cohered: the cassette recorder he used to make recordings both of the top 40 and of family rows (some of which he had kept and played back to the cast); the fake-flame electric fires he stared into.

There is an unfolding slowness to moments of childhood that the film captures exactly.

"Back then you might spend half an hour studying the back of a chair," he says. "We shot it on film because we wanted to evoke that period. But I realise now that film renders that world better than digital. It's great for capturing more natural materials - paper, wood, or cotton or wool."

In recent months Billingham has been making photographs of rough sleepers near where he lives in Swansea. He finds that a digital camera is better for those portraits. "The homeless people I meet wear a lot of kind of mountain clothing and it is very synthetic," he says. "They will have a Costa coffee cup, or a pre-packed sandwich that someone has given them, and the digital camera can render those modern surfaces and plastics really well. But the film camera is much better for older surfaces."

What has led him to do the homeless pictures?

"I was interested by how the people on the streets have their own social life that runs in parallel to ours, but completely separate," he says. "I get talking to them and you get a glimpse of the way they see us, from low down. Like a child's perspective."

Do they feel like kindred spirits, in that sense, observers of an estranging world?

He has been struck more by how easily, as a naturally shy person, he can fall into conversation with them. "It goes back to living in the tower block in my teenage years, when there was always the threat of sudden violence," he says. "You had to talk to people in a certain way, empathetic, non-threatening, to avoid that, and I find myself doing that with the people I meet on the streets. They always say go ahead when I ask if I can make a picture of them."

The other grim parallel he finds with the 1970s and 80s is the way that a kind of emblematic hopelessness has returned in those lives. "I watched that film I, Daniel Blake, that was a very good summary of it, it seemed to me. How Britain is today." It reminded him in particular of how his parents were at the mercy of circumstances because they couldn't fill in forms or make effective phone calls - Liz makes fruitless journeys in the film out to the payphone on the corner, with her pile of 2p pieces, to try to trace what happened to the money they lost. The internet has not made such a predicament any easier.

"The best thing you can do is talk to homeless people, to remind them they are not ignored," Billingham says. "That or give them a cigarette. I watch them always scratching around in bins to make roll-ups. I watched one guy pulling stubs out of drains, then drying them out."

Ray was himself a master of such scavenging. The kitchen window sill in the film contains a jar of nub-ends that Billingham's father used to go out on night walks to find.

"He used to tell me that, as a teenager, you would stand next to someone who was smoking and wait, and when they dropped their fag you would pick it up," he says. "I think he carried on from that."

Those excursions were one of the few ways that Ray made sense of time. There is no shape to the days of the film, except that provided by the arrival of drink and the consequence of hangover. Billingham has watched some Samuel Beckett over the years, but he knew the atmosphere of those plays first-hand.

"Ray and Liz never woke up at a certain time or got up and had breakfast," he says. "Their time was elliptical and messy, and I wanted the film to reflect that."

Does he crave structure as a result in his own days?

"I have three kids so I don't have much choice," he says. "But I have a diary that I couldn't live without. I think I always tried to keep a diary as a kid - I do like structured time."

I wonder if his children have seen the film (they have walk-on parts), but he says they are too young, and not bothered about that past anyway.

When I spoke to him before, he said he hoped he might reach that state of diffidence himself. It's one of the reasons, he says now, that he wanted the detail of the rooms and the characters to be so precisely accurate. To get it all out of his head.

Of the process, he explains how he did a lot of rehearsals with the actors so they could capture the movements of Ray and Liz at different moments, just as he remembered them. "Things like how they walked or stood or shuffled into a room." He wanted it to feel uncanny, and it did, by the end. "When Ella was playing Liz, after a while, she just did it, with nothing from me, the facial expressions, the way she held a cigarette..."

Billingham now holds visiting professorship in photography at Gloucester and Middlesex universities. He describes himself as "mostly a landscape photographer". He hopes the Bafta nomination will open up some new avenues for him to make other features over the coming years. He has a few ideas for treatments and is writing them now.

I wonder if Ray & Liz has worked in the way he hoped, that it is his final word on the subject?

He insists it is. "I want to make other things," he says. "It's funny, it's Jason now who keeps telling me I should do more about that past. He mentions other events about that life that would make a film." But Billingham is not convinced. He's 48 now, and he believes there are other stories out there to tell. As he begins to describe them, though, I wonder if it is quite so easy to escape from the one that made you a storyteller.
Ray & Liz is in cinemas from 8 March

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Richard Billingham: 'Statistically, I should be in prison, dead or homeless'

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The photographer made his name with a series showing his dysfunctional parents, Ray and Liz, in their squalid Black Country flat. Now he's turned their story into an award-winning film

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Fluid explores the idea of gesture and an inner monloge of a lesbain. these quitions of sexualty thnat no one has the answer for but yet would be judged for talking about.

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A thought process. Sexuailty is fluid. It dose not define you.

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text taken form judth butler text gender is burning.

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Low iso with text in post

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playing with colour text and flow

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pegs duplacted and backround erased. Gif made in photo shop.

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Drawing in photoshop and making into a gif

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Drawing in photoshop and making into a gif

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clark gallery
Sleepers, 2012

C-print

Edition of 3

32 images, 10 x 7 1/2 inches each
10 x 241 inches installation

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Centaur from the Creatures series, 2012

From the Seat Assignment series

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https://cclarkgallery.com/artists/series/nina-katchadourian/seat-assignment#slide10
https://cclarkgallery.com/exhibitions/zonamaco-2020
http://www.ninakatchadourian.com/galleries.php

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Elegua/Eshu - The Crossroads of Conflict, 2009

Digital print on canvas

42 × 72 in

106.7 × 182.9 cm

Edition 1/5 + 1AP

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Kenneth Tin-Kin Hung | Elegua/Eshu - The Crossroads of Conflict (2009) | Available for Sale | Artsy

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Available for sale from Postmasters Gallery, Kenneth Tin-Kin Hung, Elegua/Eshu - The Crossroads of Conflict (2009), Digital print on canvas, 42 × 72 in

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The Fast Supper, 2011

HD video, single channel, color, sound

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Hello Deng XiaoPing, you are very open!, 2011

Single channel HD video, color + sound

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https://www.artsy.net/artwork/kenneth-tin-kin-hung-hello-deng-xiaoping-you-are-very-open
http://stationmuseum.com/?page_id=3202
http://www.tinkin.com

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A new media images who uses public images to challange political issues in the usa. His media includes hi-definition video animation, video games, net.art, digital graphics and mixed-media installations

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sod man 1999

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What the Gallery Says: "Taking its title from Alvin Toffler's 1970 novel and Herbie Hancock's 1983 album, Brian Alfred's Future Shock embraces both of their messages and expands upon them. Toffler warns of an impending information overload as well as humanity's inability to adapt to the ever-increasing speed of industry and consumerism. Alternatively, Hancock's album welcomes the so-called information overload, praising the expansion of musical possibilities brought on by technology."

Why It's Worth a Look: Delivering a dark message in a seductive package is nothing new, but Brian Alfred's sleek images stand out. The depopulation of all his paintings, showing scenes like a flooded suburb and a riot at a soccer field, show a world running out of control faster than humankind can comprehend.
What It Looks Like: "Future Shock" is on view at Miles McEnery Gallery, 524 West 19th Street, New York, through March 10, 2018.

Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward.

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Brian Alfred's Polished Paintings Serenely Capture the Sense of a World Spinning Out of Control | artnet News

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What the Gallery Says: "Taking its title from Alvin Toffler's 1970 novel and Herbie Hancock's 1983 album, Brian Alfred's Future Shock embraces both of their messages and expands upon them. Toffler warns of an impending information overload as well as humanity's inability to adapt to the ever-increasing speed of industry and consumerism.

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A new collaboration with NY-based artist Brian Alfred, with an original score by NZCA Lines. 

http://benradatz.com/
http://paintchanger.com/
http://www.nzca-lines.com/

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Andreas Gursky

Singapore Stock Exchange

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He digitally manipulates his images—combining discrete views of the same subject, deleting extraneous details, enhancing colors—to create a kind of “assisted realism."
representations of the social.
late capilist socity

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Jeff Wall | A View From An Apartment (2004-2005)

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Jeff Wall | A View From An Apartment (2004-2005)

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large-scale back-lit Cibachrome photographs.
Mixture of natural beauty, urban decay, and postmodern and industrial featurelessness as their backdrop.
As three-dimensional objects, the lightboxes take on a sculptural presence, impacting on the viewer’s physical sense of orientation in relationship to the work - TATE Modern.

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Picture for Women (1979).

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The waiting girl

2006

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children are put into a flawless backround that she has painted.
Unreal landscape.
innoscents.

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Loretta Lux, Loretta Lux, Study of a Boy 2, 2002

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Loretta Lux, Loretta Lux, Study of a Boy 2, 2002

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bearing all, showing all marks not hiding them away
made with larying shapes and changed the brightness

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Mariko Mori, Mirror of Water, 1996-1998 

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Mariko Mori, Mirror of Water, 1996-1998 

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yasumasa Morimura, Dialogue with Myself, 2001

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yasumasa Morimura, Dialogue with Myself, 2001

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The Giant from Scale Relationship Series, 1976 Cindy Sherman

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Nilus, 2018

2 LCD screens and video

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Merging 6.5, 1997

Digitally generated acrylic on canvas

52 × 60 1/4 in

132.1 × 153 cm

Edition 5/5

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femine

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Summer Afternoons' diptych, 2013

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insta posts

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Untitled (Memory is your image of perfection) 1982

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Untitled (Memory is your image of perfection) 1982

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Barbara Kruger 1945

Medium: gelantin silver print

Dimensions: 60 × 33in. (152.4 × 83.8cm)

Framed: 61 × 34in. (154.9 × 86.4cm)

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Willie Doherty, God Has Not Failed Us, 1990. Black and white photograph with text, mounted on aluminium, 122 x 183cm

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Untitled (You thrive on mistaken identity) 1981

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Untitled (You thrive on mistaken identity) 1981

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Barbara Kruger 1945
Gelatin silver print
Overall: 152.4 x 101.6 cm (60 x 40 in.)
A print and text artist from New Jersey, USA, Barbara challenges sexual, social, and political
gender roles, social relationships, and political issues.

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screen print of the word AIDS by General Idea art collective.
the idea of text being coming the art work alone

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Gallery

Olivier Malingue

Duration

21 Sep 2020 – 22 Jan 2021

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The exhibition will explore the role the nude has played in influencing and informing artistic production from the end of the 19th century until today. In the context of modern and contemporary art history, artists have felt compelled to confront this theme by employing both figurative and abstract styles and experimenting with various media and techniques. The exhibition at Olivier Malingue will present different artistic interpretations of the nude, while giving the audience the freedom to analyse the differences and analogies between the different forms of nude presented.

The works featured in the exhibition present the interaction between idealised and stylised forms of nudity in relation to the anatomical features of the human body. At the same time, each work includes the artist's fantasies and conceptions gravitating around the idea of the nude. What emerges from the exhibition is that there isn't a traditional or standard manner of representing the nude, or for elevating its status from a physical to an ideal phenomenon. In fact, each work on view embodies a different perspective on the theme: from Picasso using the nude to subvert the norms of romantic relationships, to Delvaux and Matta both depicting the human body as an extension of the human subconscious. While Reigl used her pictorial language to represent the muscular strength of the male body, this is in direct contrast with Laurens, who explored the sinuous forms of the female body.

Presenting different ways of engaging with the theme of the nude, the exhibition also highlights how each artist considers the nude as a visual equation between the architectural features of the body and the psychology of human emotions.

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Nude by Baltasar Lobo, Francis Picabia, Grayson Perry, Henri Laurens, Henry Moore, Jean Fautrier, Judit Reigl, Kees Van Dongen, Lucian Freud, Marc Chagall, Marlene Dumas, Pablo Picasso (P)*, Paul Delvaux, Salvador Dalí at Olivier Malingue - Artland

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The exhibition will explore the role the nude has played in influencing and informing artistic production from the end of the 19th century until today. In the context of modern and contemporary art history, artists have felt compelled to confront this theme by employing both figurative and abstract styles and experimenting with various media and techniques.

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she took a poetic series of black and white photographs, further offering a tiny window into Kahlo’s raw and complex life

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body imprint, 1972

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leaf,1982

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actical on femist artist and nudity in art.

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Less than 5 percent of the artists in the Metropolitan Museum of Art's Modern Art sections are women, but 85 percent of the nudes are female. That statistic is jarring enough on its own; but now picture it on a bright yellow billboard also featuring a naked woman with the head of a ferocious fanged gorilla.

That memorable image is by the Guerrilla Girls, a group of feminist artists who did a "weenie count" at the Met in 1989. Their work showed how the female body has always been one of art's most popular subjects, even though women artists historically had little chance to represent their own bodies.

READ MORE: 17-Year-Old Organizes #FreeTheNipple Protest, Is Cooler Than Us

Systemic inequalities still fester in our art institutions - the Guerrilla Girls redid their weenie count in 2012 and found the numbers of female artists and female nudes at the Met hadn't really changed. But over the past century, more and more women have busted through the art patriarchy to make art that is about - and often takes as its form - the female body.

The works exist somewhere between the worlds of personal expression and political protest. They happen in tandem with, and sometimes overlap, movements like today's Free The Nipple and 400 Pueblos Movement.

The 600-year stretch from the Renaissance to the 20th century was, unquestionably, the heyday of rich white dude art, as well as the heyday of lady nudes. Even up to the end of the 19th century, the French Académie favored paintings featuring busty Rubenesque women (painted by men, of course).

A few women toyed with the system before the turn of the century - like Impressionist Berthe Morisot, who liked to paint herself in what some people think is drag - and the first half of the 1900s brought a sprinkling of others.

Dada artist Hannah Hoch was basically the first Riot Grrrl. She made collages that used pictures of women's body parts in subversive ways, like legs covered with a pair of creepy old man eyes. "Höch was also a staunch feminist and an early supporter of reproductive rights, often marginalized for her manly dress and bisexuality," says Carey Dunne at Fast Company. "In her piece "From an Ethnographic Museum," naked breasts paired with mustachioed tribal masks lambasted traditional sex roles in the [Weimar] Republic's repressive social climate."

Hoch's works are about, among other political criticisms, examining and reclaiming the huge swell of images around her at the beginning of mass media. Her twisting of traditional and commercial depictions of female bodies formed a base for feminist and appropriation artists in the second half of the century.

And, of course, no conversation about female bodies in art would be complete without a mention of Georgia O'Keeffe's notorious flower paintings, which many have interpreted as...not flowers.

O'Keeffe claimed until the end that her works weren't meant to look like lady parts, but most critics don't buy it. "It now seems abundantly clear that, in spite of her vehement denials, O'Keeffe meant some of her paintings (not just the flowers) to look vaginal," SMU art history professor Randall Griffin writes in his book "Georgia O'Keeffe." "O'Keeffe's great achievement was that she created a fearlessly candid - though metaphoric - representation of the female body, one entirely different from the tradition of female nudes painted by male artists for a male audience."

Despite Hoch's and O'Keeffe's contributions (among a handful of others), the Modernist period was highly male-dominated. Women artists didn't exist in large numbers until the 1970s, which were phenomenally fruitful years for women to make art about their bodies, as the second wave feminist movement bloomed in tandem with an explosion of performance and body art.

For instance, the 1972 installation " Womanhouse" was an actual house taken over by the CalArts Feminist Art Program. Led by Judy Chicago and Miriam Schapiro, 28 women made art installations in each of the house's rooms, including "Nurturant Kitchen," a room covered with sculptures of fried eggs that gradually morph into breasts moving down the wall, meant to symbolize women trapped in nurturing, domestic roles, and " Linen Closet," a cupboard filled with sheets and a female mannequin chopped in pieces by its shelves. The installations and their accompanying performances (including one involving giant fake genitals called "Cock and Cunt") were shocking, aggressive and highly influential.

Women artists in the '70s not only created art modeled after their bodies; they also made their bodies themselves the art in new works that explored and challenged the social constructions of the female body.

Ana Mendieta started her "Silueta Series" in 1973, in which she used her naked body in a variety of different ways, from rolling around in the dirt to holding a freshly decapitated chicken by its feet and covering herself in its blood. She explored the relationship between her [female] body and the Earth in a series of "subversive self-portraits that played with notions of beauty, belonging and gender," says Sean O'Hagen at The Guardian. "She evoked the power of female sexuality as well as the horror of male sexual violence."

Hannah Wilke, another performance artist, took a more direct tack with her feminist commentary. In 1974's "S.O.S - Starification Object Series," she shaped pieces of chewing gum into tiny little vulvas and stuck them on herself. "Artists such as Wilke used their bodies to challenge the erasure of women from art other than as objects," says Amelia Jones, the Vice Dean of Critical Studies at USC's art school.

She says that Wilke was not only exploring her objectification in the art world, she was also taking control of it by becoming an active subject in her own representation. "By enacting herself as a subject (the maker) as well as the figure in the artwork, Wilke could suture together woman/object and woman/subject-at the time, in that context (1970s New York art world), this was super empowering," says Jones.

Today, the context surrounding women's art has evolved, but women continue to challenge representations of their bodies through art and cultural production.

"Clearly today more women (at least white middle class women in first world countries) have more agency than in previous eras," says Jones. "Whether or not we think a female pop star gyrating almost naked, viz. Miley Cyrus in 'Wrecking Ball,' is empowering herself is up to debate...nonetheless we have more access to the media (barely, but still) and to our own self imaging, or at least more awareness of how the structures of objectification work."

Social media and the advent of the selfie have allowed for more female "self-imaging" of all types, including subversive actions like social media movement #FreeTheNipple (of which Cyrus was, unsurprisingly, an early adopter). Women post pictures of their nipples with the hashtag #freethenipple in protest of Instagram's no-lady-nipple policy and laws in many U.S. states that prevent women from being topless in public.

"Feminism says that men and women should be treated equally in all aspects of society," says Jamie Katuna, who recently attended a Free The Nipple topless rally at UCSD. "But we won't be equal if our bodies are constantly being controlled and policed on social and legislative levels while men's bodies are not...I exist in a woman's body, and I should have the same rights to show it that a man has."

The relationship between femininity and the "woman's body" is in flux today as LGBTQ issues become more and more visible in pop culture. "I think there continues to be an opening up and questioning of what female-ness means, and even what we mean by 'the body,'" says Maura Brewer, a critical studies professor at USC.

Emerging artists like Zackary Drucker and Rhys Ernst explore this tension in their " Relationship" photograph series, which documents their lives as "a transgender couple whose bodies are transitioning in opposite directions." And just this week, the photos Annie Leibovitz shot of Caitlyn - formerly Bruce - Jenner on the cover of Vanity Fair have started a firestorm of conversations surrounding the cultural representation of transgender bodies (and how that representation changes based on race and class).

The media explosion surrounding Jenner's new identity shows the debate over women's bodies and their representations intensifying again under a new generation of networked, sometimes not-traditionally-female feminists. Like the artists before them, these women are continuing to push the boundaries of self-imaging into new and controversial territory.
Contact Editor-in-Chief Gigi Gastevich here.

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The Body, Painted And Performed: Feminist Artists Who #FreeTheNipple

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Less than 5 percent of the artists in the Metropolitan Museum of Art's Modern Art sections are women, but 85 percent of the nudes are female. That statistic is jarring enough on its own; but now picture it on a bright yellow billboard also featuring a naked woman with the head of a ferocious fanged gorilla.

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Graciela Iturbide, Mujer Ángel, Desierto de Sonora, México (Angel Woman, Sonora Desert, Mexico), 1979 © Graciela Iturbide. Courtesy the artist and SF MoMA

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Nan one month after being battered 1984
Photograph, dye destruction print on paper mounted on board

695 × 1015 mm
737 × 1056 × 35 mm

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Greer and robert in bed, nyc 1982
Photograph, dye destruction print on paper mounted on board

695 × 1015 mm

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OR LIFE OR
video
Black plays Anxietina, a superhero-like character who navigated a world loosely based on the Wikipedia entry for “life.”