In an effort to address the image of the nude as a concern of both feminist aesthetics and existentialism, this paper shall provide a critique on the male gaze in visual art by means of Jean-Paul Sartre’s analysis of the image and the imagining consciousness. This paper aims to reassess not only the aspects surrounding the male gaze but the nature of its image. In this sense, while objectification is part of the nature of the nude, both the (...) representation and the imagining consciousness of its spectator play a part in the objectification of the nude as image. This paper argues that through Sartre’s account of the nature of images, the male gaze misconstrues the represented nude through her image in most works of art. I will show that as an act of the imagination, the male gaze elicits the sexually objectified representations of the nude and that the reality of the nude is conflated with its image thereby producing irreal, objectified and prejudiced representations of women. (shrink)

Born like Venus on the half shell from the centuries-long tradition of the nude in painting, the nude first appeared as a subject matter in photography with the introduction of the medium itself, between 1837 and 1840, and has continued as an ever-evolving theme through changing technical developments and cultural mores to the present day. This volume surveys the subject of nudity from the earliest surviving photographs of Greek and Roman sculpture through studies of living nude models (...) for aesthetic or scientific purposes to the burgeoning practice of exploring the human body as pure form. The seventy-eight works, selected from the extensive collection of the J. Paul Getty Museum and further contextualized here in the essay “Masterworks of the Nude,” span the entire arc of the history of photography in a manner that is both fresh and illuminating. Among the sixty-four photographers included are nineteenth-century masters Julia Margaret Cameron, Edgar Degas, and Thomas Eakins; early-twentieth-century artists Man Ray, Alfred Stieglitz, and Edward Weston; mid-twentieth-century innovators Bill Brandt, Harry Callahan, and Minor White; late-twentieth-century image makers Diane Arbus, Robert Mapplethorpe, and Herb Ritts; and contemporary artists Chuck Close, Timothy Greenfield-Sanders, and Mona Kuhn. (shrink)

A central topic in Cohen’s Ästhetik des reinen Gefühls is the artistic representation of the human figure; in Cohen’s reflections on this topic, the nude has a fundamental importance. The first aim of this paper is to examine Cohen’s theses on the role of the nude in figurative arts, as well as his comments about sculptural and pictorial works representing nude figures. This will bring us to take into consideration Cohen’s judgement about eroticism in art. Some brief (...) considerations about the nude in contemporary art, and above all in photography, will be expressed in order to evaluate the topicality of Cohen’s aesthetics concerning this theme. These considerations, however, will make it necessary to rethink Cohen’s judgement regarding eroticism in art. (shrink)

Jenny Saville is a leading contemporary painter of female nudes. This paper explores her work in light of theories of gender and embodied agency. Recent work on the phenomenology of embodiment draws a distinction between the body image and the body schema. The body image is your representation of your own body, including your visual image of it and your emotional attitudes towards it. The body schema is comprised of your proprioceptive knowledge, your corporeally encoded memories, and your corporeal proficiency (...) with respect to various environments and activities. Saville is concerned with body image issues, and I discuss how she reconfigures representational practices with respect to feminine body images. However, the most exciting potential for feminist analysis of the state of the female nude derives from the concept of the body schema, for this concept endows the human body with subjectivity and agency. My key question, then, is by what pictorial means and to what extent Saville succeeds in representing agentic womanhood. I argue that interpreting Saville’s paintings from the standpoint of the body schema demonstrates the radicality of her remaking of the female nude and the rapport between her imagery and feminist values. (shrink)

The undraped human form is ubiquitous in Western art and even appears in the art of India and Japan. Only in China, François Jullien argues, is the nude completely absent. In this enthralling extended essay, he explores the different conceptions of the human body that underlie this provocative disparity. Contrasting nakedness with nudity, Jullien explores the traditional European vision of the nude as a fixed point of fusion where form joins truth. He then shows that the absence of (...) the nude in Chinese art evinces an understanding of the human body as changeable and transitory. Viewed in light of each other, these differing concepts allow for a new way of thinking about form, the ideal, and beauty, enabling us to delve deeper into the relationship between art and the ideas that lie at its roots. Beautifully illustrated and gracefully translated into English for the first time, _The Impossible Nude_ will fascinate anyone interested in art history, Chinese art, or aesthetics. (shrink)

In this essay a selection of images of women Olympians who have opted to pose nude in calendars, in Playboy magazine and in mainstream men's magazines is critically analysed. It is argued that when women athletes pose nude, their talent and incredible skill are trivialised because they are sexually objectified. Based on Nussbaum's theory of objectification, a continuum is developed to analyse the said images. The analysis highlights theories of sexualisation, heteronormative culture, and homophobia which are entangled within (...) the apparent justifications for posing nude. These are rejected in favour of the objectification critique. (shrink)

In this paper I present some reasons for seeing Duchamp's ready-mades as part of the history of sculpture and relate them to his engagement with both nudes and chess motifs.

Drawing on 45 interviews, this article addresses how heterosexual men and women respond to and discuss opposite and same-sex nude images in distinctive ways. Viewing both female and male nudes provides an opportunity to observe the sexual and gender identity work men and women perform when confronted with this cultural object. Both men and women have access to shared, readily available cultural scripts for interpreting and responding to female nude images. Neither men nor women are culturally adept at (...) the interpretation and use of nude male images, particularly the man in the soft porn frame. Men respond to this male nude with overt rejection and stated disinterest. Women are more likely to reject the seductive advance or welcome it with attached feelings of guilt. (shrink)

In “What’s Wrong with the (Female) Nude?” A. W. Eaton argues that the female nude in Western art promotes sexually objectifying, heteronormative erotic taste, and thereby has insidious effects on gender equality. In this response, I reject the claim that sexual objectification is a phenomenon that can be generalized across the experiences of women. In particular, I argue that Eaton’s thesis is based on the experiences of women who are white, and does not pay adequate attention to the (...) lives of racialized women. This act of exclusion undermines the generality of Eaton’s thesis, and exposes a more general bias in discussions of the representation of women in art. Different kinds of gendered bodies have been subjected to different kinds of objectifying construal, and the ethics of nudity in art must be extended to take such variation into account. (shrink)

In 2014, a large archive of hacked nude photos of female celebrities was released on 4chan and organized and discussed primarily on Reddit. This paper explores the ethical implications of this celebrity nude photo leak within a frame of gendered privacy violations. I analyze a selection of a mass capture of 5143 posts and 94,602 comments from /thefappening subreddit, as well as editorials written by female celebrities, feminists, and journalists. Redditors justify the photo leak by arguing the subjects (...) are privileged because they are celebrities; that the celebrities are at fault for failing to appropriately protect their information; and that the only person ethically responsible for the leak is the hacker. The popular press primarily took a feminist perspective, linking the photo leak to institutionalized sexism and misogyny. I argue that the Reddit participants frame the privacy violations within a context of geek masculinity, in which references to masturbation and pornography and casually misogynist language are used to signify a normative masculine self. Privacy violations are de-emphasized when the victims are women and gender or feminist concerns are rejected. Entitlement to viewing women’s bodies and male sexual desire are prioritized over ethical concerns over privacy violations. The paper contributes to understanding how privacy violations are normatively gendered and reinforced by gender inequality. (shrink)

As sexting has become more common, so has the sharing of nude and semi-nude images of others. While women and men may both engage in this practice, when they do so they often participate in distinct gendered rituals. Drawing on 55 in-depth interviews with college students, I examine how the symbolic meanings attached to men and women’s nude images in the context of intimate heterosexual interactions shape collective rituals of sexual pursuit and sexual rejection. I find that (...) men share images of women with their peers to demonstrate sexual prowess and receive praise, whereas women share images of men with their peers to cope with unwelcome sexual advances and receive support. These gendered rituals are linked to the perceived desirability of men’s and women’s nude images. While rituals of domination appear among men and reproduce unequal gender relations, rituals of commiseration appear among women to resist unequal gender relations. (shrink)

This study analyses three scenes of female nudes in three Spanish films made in the first decade of the 2000s: The Naked Years by Dunia Ayaso and Félix Sabroso, Take My Eyes by Icíar Bollaín and Elegy by Isabel Coixet. It elucidates the ethical rules of engagement with the spectators the directors propose, particularly in regard to the commodification of the female body. The theoretical framework draws mainly from the work of the Spanish philosopher Fernando Savater and approaches the subject (...) matter from a feminist perspective. (shrink)

Dans cet ouvrage directement tiré de sa thèse intitulée « Female Public Nudity in Belle Époque Paris » et soutenue en 2006 à l’université de Floride, Lela F. Kerley retrace et interroge le processus conflictuel qui a accompagné la normalisation de l’exhibition publique de la nudité féminine à Paris entre 1889 et 1914 sous l’effet d’expérimentations artistiques et de la prolifération du nu féminin dans le répertoire des music-halls. L’enquête s’intéresse aussi bien aux pratiques et motivations...

Over the last ten years the sharing of nude images or videos (sometimes known as “sexting”) by young people has emerged as a concern. Despite this, no research had been conducted on the prevalence of the sharing of nudes among young New Zealanders. This study addresses this and raises important questions for all those with a role in supporting young people’s healthy development. We believe this report makes an important contribution to the overall understanding of young people’s experience of (...) these behaviours. However, it only provides a snapshot, and more work is required to understand how best to support young people as they navigate the challenges and potential risks. This report is being released as part of a larger project exploring young people’s experiences of digital risk and harm, carried out by a partnership between Netsafe and the Ministry for Women. (shrink)

This article examines a number of philosophical concepts that are at stake in the visual culture of the nude. It particularly focuses on Aphrodite’s appearance, or rather, what I call her exposed concealment, in Jean-Luc Godard’s 1963 Le Mépris. A film, I argue, which is not only concerned with Aphrodite and the figure of the female nude via Brigitte Bardot, but which also explores the very idea of the sex goddess in cinema. In the first section I introduce (...) arguments from T.J. Clark about the changing status of the nude in nineteenth-century France. In the second section, having introduced Kenneth Clark’s work on Aphrodite, I outline Michael Williams’ work on the archaeology of divine stardom and discuss my disagreement with the way Ginette Vincendeau and Colin Gardner interpret Bardot in the film. In the longest section, the third, I examine several shots in Le Mépris in conversation with Stanley Cavell and argue that the nude scenes both invoke and rework the pictorial language of nudity found in the history of painting and sculpture, as well as Bardot’s film back catalogue, and I conclude by suggesting the film provides an indirect critique of what Hegel says about female nudity. (shrink)

What is erotic art? Do all paintings with a sexual theme qualify as erotic? How to distinguish between erotica and erotic art? In what way are aesthetic experiences related to, or different from, erotic experiences and are they at all compatible? Both people and works of art can be sensually appealing, but is the beauty in each case substantially the same? How helpful is the distinction between the nude and the naked? Can we draw a strict line between erotic (...) art and pornography? We tend to think of art as complex and of pornography as one-dimensional, but how compelling is that differentiation? Pornography is often considered harmful, objectifying, and exploitative, but to what extent is erotic art immune to moral criticism of this sort? In addressing such questions this entry will provide an overview of current philosophical debates on erotic art. It will also place those debates in historical perspective and, in the closing section, explore some important avenues for future research. (shrink)

We present a theory of human artistic experience and the neural mechanisms that mediate it. Any theory of art has to ideally have three components. The logic of art: whether there are universal rules or principles; The evolutionary rationale: why did these rules evolve and why do they have the form that they do; What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of ‘Eight laws of artistic experience’ -- a (...) set of heuristics that artists either consciously or unconsciously deploy to optimally titillate the visual areas of the brain. One of these principles is a psychological phenomenon called the peak shift effect: If a rat is rewarded for discriminating a rectangle from a square, it will respond even more vigorously to a rectangle that is longer and skinnier that the prototype. We suggest that this principle explains not only caricatures, but many other aspects of art. Example: An evocative sketch of a female nude may be one which selectively accentuates those feminine form-attributes that allow one to discriminate it from a male figure; a Boucher, a Van Gogh, or a Monet may be a caricature in ‘colour space’ rather than form space. Even abstract art may employ ‘supernormal’ stimuli to excite form areas in the brain more strongly than natural stimuli. Second, we suggest that grouping is a very basic principle. The different extrastriate visual areas may have evolved specifically to extract correlations in different domains , and discovering and linking multiple features into unitary clusters -- objects -- is facilitated and reinforced by direct connections from these areas to limbic structures. In general, when object-like entities are partially discerned at any stage in the visual hierarchy, messages are sent back to earlier stages to alert them to certain locations or features in order to look for additional evidence for the object . Finally, given constraints on allocation of attentional resources, art is most appealing if it produces heightened activity in a single dimension rather than redundant activation of multiple modules. This idea may help explain the effectiveness of outline drawings and sketches, the savant syndrome in autists, and the sudden emergence of artistic talent in fronto-temporal dementia. In addition to these three basic principles we propose five others, constituting a total of ‘eight laws of aesthetic experience’. (shrink)

I agree that Wollheim is wrong in his reconstruction of Bradley's arguments on Subject-Predicate judgements, but not completely. Wollheim is right about the conclusion of Bradley's arguments. I argue that Bradley does not reject subject-predicate form of judgements rather he attack's the idea that there is some judgement in which the subject is the nude reality.

Animation victims: an abridged history of animated response -- Animated history -- The movement of accessories -- Fabric extensions and textual supplements from modern and antique fragments -- The movement of snakes -- Pneumatic impulses and bygone appendages from Philo to Warburg -- The afterlife of crystals -- Art historical biology and the animation of the inorganic -- Inorganic culture -- Nudes in the forest -- Models, sciences, and legends in a landscape by Léger -- Malicious houses -- Animism and (...) animosity in German architecture and film from Mies to Murnau -- Daphne's legacy -- Architecture, psychoanalysis, and petrification. (shrink)

The central problem posed in these essays, collected from over a decade, is how in the wake of Western ontologies to conceive the coming, the birth that characterises being. The first part of this book, 'Existence' asks how, today, one can give sense or meaning to existence as such, arguing that existence itself, as it comes nude into the world, must now be our 'sense'. In examining what this birth to presence might be, we should not ask what presence (...) 'is'; rather, we should conceive presence as presence to someone, including to presence itself. The second section, 'Poetry', asks: What if art exposes this? In writing, in the voice, in painting? And what if art is exposed to it? How does it inscribe the coming of existence as such? The author's trajectory in this book crosses those of Hegel, Schlegel, Baudelaire, Nietzsche, Freud and Heidegger, in their comments on art and politics, existence and corporeality, everyday life and its modes of existence, and ecstasy. An analysis that dares this crossing involves all the varied accounts of existence, political and philosophical, as well as all the realms of poetry. (shrink)

This volume investigates the meaning of visual rhythm through Piet Mondrian's unique approach to understanding rhythm in the compositional structure of painting, drawing reference from philosophy, aesthetics, and Zen culture. Its innovation lies in its reappraisal of a forgotten definition of rhythm as 'stasis' or 'composition' which can be traced back to ancient Greek thought. This conception of rhythm, the book argues, can be demonstrated in terms of pictorial strategy, through analysis of East Asian painting and calligraphy with which Greek (...) thought on rhythm has identifiable commonalities. The book demonstrates how these ideas about rhythm draw together various threads of intellectual development in the visual arts that cross disparate aesthetic cultural practices. As an icon of early 20th Century Modernism, Mondrian's neoplasticism is a serious painterly and philosophical achievement. In his painting, Mondrian was deeply influenced by Theosophy, which took its influence from Eastern aesthetics; particularly East Asian and Indian thought. However, Mondrian's approach to visual rhythm was so idiosyncratic that his contribution to studies of visual rhythm is often under-recognized. This volume shows that a close inspection of Mondrian's own writing, thinking and painting has much to tell scholars about how to understand a long forgotten aspect of visual rhythm. Rodin's famous criticism of photography ("athlete-in-motion is forever frozen") can be applied to Muybridge's zoopraxiscope, the Futurists' rendition of stroboscopic images, and Duchamp's "Nude Descending a Staircase." Through a comparative study between Mondrian's painting and these seminal works, this volume initiates a new convention for the cognition of the surface of painting as visual rhythm. "Mondrian's simultaneous emphasis on the static and the rhythmic is hardly fodder for a publicist. Eiichi Tosaki has taken on the challenge of elucidating Mondrian's theories of rhythm, and particularly his conception of "static" rhythm. The result is a tour de force that will forever alter the reader's encounter with the works of Mondrian." Prof. Kathleen Higgins. (shrink)

Some of the most difficult and wrenching social and political issues in U.S. society today are about the relationship between strongly held moral values and the laws of the land. There is no consensus about whether the law should deal with morality at all, and if it is to do so, there is no agreement over whose morality is to be reflected in the law.In this compact and carefully edited anthology, Gerald Dworkin presents the readings necessary for an understanding of (...) these issues. The volume contains classical and contemporary philosophical statements as well as a generous sampling of legal cases and opinions, including such topics of current interest as flag-burning, nude dancing, the sale of human organs, and sexual behavior. The volume represents the best in applied legal and moral philosophy. (shrink)

We critically analyze four images of female Paralympians posing nude in ESPN The Magazine’s Body Issue from the years 2009, 2010, 2012, and 2014. Past literature shows that media portrayals of female Paralympians emphasize esthetically pleasing bodies, able-bodied images and asexualization. Weaving’s continuum of sexual objectification was applied to assess the varying degrees of sexual objectification showcased within each image. From a feminist perspective, discourses of heteronormativity and ableism were applied to outline the concerns with female Paralympic representation in (...) The Body Issue. We argue that by normalizing disability and sexual objectification, woman athletes are trivialized. (shrink)