“Facebook has a strict policy against the sharing of pornographic content and any explicitly sexual content where a minor is involved. We also impose limitations on the display of nudity. We aspire to respect people’s right to share content of personal importance, whether those are photos of a sculpture like Michelangelo’s David or family photos of a child breastfeeding.”
Should this apply to nudes that are part of an artistic endeavor, or “content of personal importance,” such as Gracie Hagen’s photographs (featured above)? Why has Facebook never flagged any other post of ours, others of which also feature a comparable amount of nudity (featured below)?
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.
Megan Van Groll paints women– mediating on the fine line between nakedness and nudity, or how these two concepts relate to freedom or identity. Likewise, from bathing in cocoa puffs to sensually brawling at a donut shop, her food motif is an interesting one, often working in tandem with the female form– provoking thoughts of fetish from the outside, but also, a much more personal and complicated binging ceremony.
Of her own craft, Groll states, “My narrative portraits of women are, at their core, a painted attempt to understand and portray how modern women create identity and meaning from the world around them. I am interested in exploring the way we perform our projected ideal personas, for ourselves and for others.”
Spencer Tunick designs and installs nude human bodies into landscapes and photographs or films them. The blending of the color and texture of human skin with industrial or natural landscapes is stark and effective; the bodies themselves become their own landscape. Tunick has traveled the world staging photographs and videos of these large nude installations, and uses anywhere from a handful of voluntary participants to tens of thousands of them. The end result is a beautiful combination of art forms, including design, sculpture, performance, photography, and video. According to his website, Tunick has been arrested 5 times since 1992 while performing in New York City, and has gone to court to defend his First Amendment rights, which he won, but was still denied a permit from the city to practice his art. As a result, he creates his work abroad and has not performed in New York City in over 10 years.