Julia Fullerton-Batten’s models seem naked in their nudity, and this is not just a clever play on words. John Berger, in his book Ways of Seeing, explains the difference: “Nakedness reveals itself. Nudity is placed on display. The nude is condemned to never being naked. Nudity is a form of dress.”
Here, in Fullerton-Batten’s Unadorned series, each model is indeed nude, as Berger suggests, posed on display, manipulated by the photographer to convey an idea, however . . . because he or she wears a certain type of nudity in the vein of old world masters from the 15th – 17th centuries . . . and because they are arranged in contemporary settings by female hands . . . and because their bodies are curvy and soft, as opposed to thin and hard . . . what results is also a fascinating feeling of nakedness: a complex historical/sociological revelation of us as a species in relation to gender, weight, and image.
Genevieve Blais, a photographer based in Toronto, borrows imagery from classic art history paintings to unpack sexual politics relative to today’s contemporary palate.
Of her intention, Blais states, “The aesthetic/topical dissonance aims to elicit an uneasy response in order to subvert the implicit authority and sanctity of the icon.”
The result confronts and critiques art culture by sitting in an uneasy space between not only imagery, but also mediums– cameras and brushes, forcing us to clearly see the model as the true determinant– a staged powerful variant that has been with us since Caravaggio’s rule, humanizing the myth.
Designer Outmane Amahou‘s posters seem to need very few words accompanying them. This series is appropriately called Minimalist Art Movement Posters. Amahou glides through art history with a minimalist design style. Icons of art history’s various movements and schools stand elegantly alone at the center of each poster. Warhol’s soup can, Magrite’s pipe, Duchamp’s urinal all act as familiar symbols of their respective styles.
Julie Heffernan‘s paintings take all the tropes of Northern Renaissance painting, combines them, and makes them into absurd works that feel like art history collages rendered by one of the masters themselves. She has a show coming up at the Mark Moore Gallery on November 3, so if you like what you see, make sure to check out her opening, it sounds great!
Lucy Gaylord-Lindolm’s remixed take on traditional oil painting and art history injects elements of surrealism and pop culture into a familiar setting. Characters from The Wizard of Oz and Pinocchio find their way into the artist’s cleverly referenced paintings, establishing bold compositions where perfectly good paintings once already existed. The result causes us to look a little deeper into that which we previously took for granted. I’ll go wherever she’s leading with these. (via)