Intimate Portraits Of People With Disabilities Questions Societies Notions Of Beauty

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The nudes in Olivier Fermariello’s series “Je t’aime moi aussi” aren’t the familiar forms. Do they make you uncomfortable, these images of men and women outside the norm? Do you want to look away? Do the portraits feel exploitive?

People with disability in most cases feel the discrimination of not being considered entirely as a man or a woman: instead they feel treated either as children, either as beings belonging to a third gender, neutral with no libido. This project is about people, who are suffering from this kind of discrimination, but are not willing to give up their fight choosing a direct way to express themselves revealing their intimacy.

There is very specific platonic ideal of attractiveness that we all know, even if we choose not to accept it. Sure Dove has been campaigning for “real beauty” and Debenhams put size 16 mannequins in shop windows, but the vast majority of self-acceptance/social-acceptance images we see feature non-disabled people. The exclusion of images of people with disabilities removes them from the context of normalcy, both alienating and alien-making.

The series title translates to “I love you, too,” and this comes through in Fermariello’s photos. His pictures are not sensational —there is little effort to make the subjects of the photos look strange or other. There is also very little artifice, especially in the photos of the little person. She is captured, documentary-style, allowing us to see commonalities. This is an adult woman, sexual and sensual. All of the people photographed are making a clear statement in their fierce nakedness.

I wondered to what extent a disabled person was willing to go in leading a battle against the ultimate taboo in the field of disability. These images are the answer to my question.

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Joel-Peter Witkin’s Grotesque Yet Beautiful Photographs Capture Private Erotic Longings

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The legendary photographer Joel-Peter Witkin, previously featured here and now on view at LA’s Jack Ruthberg Gallery, weaves strange erotic narratives through his staged images, some of which take weeks to complete. His body of work reads like a love poem to the grotesque, transforming what society deems taboo into miraculously beautiful scenes.

Witkin’s images avoid judging the body, opting instead to reveal mankind’s universal but most private erotic yearnings and fears. In his reinterpretation of Canova’s famously sensual yet demurely reclining Venus, for example, naked male genitalia slip from cover as if by accident, the organ poignantly vulnerable, delicate, and human, seemingly caught between erection and flaccidity.

Sexual hunger again becomes the subject of another image that seems to deconstruct Romantic paintings like Theodore Gericault’s The Raft of The Medusa, famed for its haunting depiction of dead, drowning flesh. Here, a suspenseful, tragic rescue effort is transformed into a sort of desperate orgie on the verge of climax; a pair of heaving breasts is grabbed like melons.

The erotic, though filled with the dangers of physical and spiritual nakedness, is often elevated to the divine. A shirtless woman, her breasts bared, inserts her finger into a book much like the Virgin Mary in Renaissance paintings of the Annunciation. In these photographs, nuns pose alongside nudes, and horns (symbolic of lust) are merged with crowns of thorns (symbolic of Christ)

The gorgeous set of images challenge societal ideas of social acceptability, implying that the most exquisite beauty is often found in our most frightfully private moments of lust and longing. Within all of us, lies erotic impulses that can manifest in magical and dangerous ways. Be sure to check out Witkin’s work at Jack Ruthberg Gallery, where he will exhibit alongside his long-estranged brother, the legendary painter Jerome Witkin. (via Lenscratch and Etherton Gallery)

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