Projet Sage Nu

While I wait excitedly for next week’s photo shoot with my first volunteer model, words that encapsulate this new project continue to formulate in my head:

THE NUDE has been admired, studied, and discussed for over two millennia, having made its noble debut in sculpture in Ancient Greece. During the Renaissance and later, painters took up the subject with fervour, but in 1838 the invention of photography enabled artistic explorations that had never before been possible.

In recent times, attitudes about the female body have been shaped by the overt sexualization [objectification] of women and girls in advertising, media, and the entertainment industry. Consequently, women have internalized unhealthy societal constructs regarding beauty and desirability, leaving no room for flaws, wrinkles, or aging.LaRiviere_Nude-11

The reality is that natural signs of aging have been consistently maligned [especially for women] since the advent of corporate advertising in the 1950s and 60s, with its endless brands of facial creams, hair dyes, and other age-defying products. Cosmetic surgery and photoshopped images in glossy magazines underscore our obsession with maintaining the outward appearance of youthful immortality. As a consequence, we are deeper in denial, more insecure, and more dysfunctional than ever as a society.

My intent with this project is to challenge contemporary notions of feminine beauty and the fallacy that it is the sole domain of the young and nubile. My subjects are mature women – mothers and grandmothers – with no experience in front of a camera. The poses are seated, and all compositions are from the neck down with special attention paid to the placement and character of the hands (which are closest to the camera’s lens). The body therefore becomes secondary, offering only partial views of itself with a softness resulting from the shallow depth of field. By not photographing their faces, the women are more relaxed and able to be themselves. Their humanity, strengths, and frailties are communicated through their hands.

In creating and editing my images, I explore shape, texture, and composition as a vehicle to a meaningful narrative. There is no shame in aging because the experience and wisdom that accompany it are truly wondrous and beautiful gifts. Besides, we are so much more than our outer shells.

In viewing the body at its barest and most honest, we are given a mirror with which to contemplate our own vulnerabilities, and ultimately the impermanence and mortality that we all share. My approach to the nude is considered and modest. It does not push the boundaries, nor does it demand to be “in your face.” It is quiet and meditative. It transcends the carnal and hints at deeper ponderings.

No Nipping, Tucking, or Airbrushing Here

As I delve deeper into the newly emerging and currently titled, Vintage Nude Project, I am confronted with many questions. Where is this project going? What is the project really about? Why am I doing it? Who is it for? 

On a most basic level, this evolving series of photographs reflects my longstanding interest in hands [as a subject] and merges it with a deliberately subtle approach to the female nude. It seemed a natural evolution – hands are part of our bodies after all. They are an extension of ourselves.

In creating and editing my images, I explore shape and composition while making no attempt to diminish or conceal signs of wear and tear on the aging body. In fact, evidence of age on the hands and skin is accentuated in some of the photos. My motives are clear.

The reality is that natural, physical characteristics such as wrinkles, age spots, veins, and silver hair have been consistently maligned [especially for women] since the advent of corporate advertising. Think Mad Men (Madison Avenue, NYC, 1950s and 1960s advertising) – targeting women with face creams, hair dyes, and other age-defying products. Mainstream popular culture, media, and the entertainment industry quickly followed, nipping, tucking, and airbrushing their way to the fountain of youth that is as elusive today as it ever was. Yet we are deeper in denial, more insecure, and more dysfunctional than ever as a society.

There is no shame in aging, nor in celebrating it, because the experience and wisdom that usually come along with age is a wondrous and beautiful thing. Beauty is not the exclusive domain of the young and outwardly flawless. Our cultural values have been skewed, and it’s high time that everyone stopped promoting and believing the lies. Besides, we are so much more than our outer shells. We are poetry in motion.

A Look Behind the Scenes:

As a reclusive “elder” and new grandmother, I am simply not ready to reject myself as a viable and suitable model for my own work. Au contraire! Aside from the fact that asking family or friends to pose stark naked for photos is rather daunting and awkward (although I’m still hoping for volunteers), I’m the perfect choice at this stage of the project. I am available 24/7, I’m of the requisite vintage, and I know exactly what the photographer is attempting to convey.

The “studio sessions” consist of a darkened bedroom, the SoftBox Pro app on the iPad as a single light source, an articulated LCD screen on the camera, a remote shutter release controller, bifocals, and a lot of stamina. (I initially experimented with SoftBox photographing a mini orchid in the dark several months ago. The results were quite impressive, but I’m done with flowers for now.) In any case, DYI methods can yield superior results with a little determination and perseverance. Stay tuned for updates on this project, and if you have any ideas for the perfect title, I’d love to hear it!

NOTE:  This post was written in September 2014. Click here to view the project in its current state.

Blinded by Beauty: Before & After

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This morning a friend shared a Huffington Post article by Amanda Duberman about a project by Esther Honig, a human interest reporter, who sent a photograph of herself to photo-editors in over twenty-five countries. She asked them simply “to make me beautiful,” and through their photoshopping efforts she would examine the standards of beauty, and concepts of the “perfect woman,” to see how cultural values had affected the outcome. The results were stunning.

While my initial response to the amazing variety of images emanated from my artist self, a comment by a male friend about the article really got me re-thinking the thrust of her project. My friend stated flatly that make-up (both face paint and computer paint) was all the same. I re-read the article, which is when my cringe factor began to tingle, thus compelling me to write this essay.

First of all, a word about make-up. Make-up has been around since Egyptian times or earlier, so the desire to enhance and dramatize seems to be an inherent tendency in the human condition. That much is true.

However, the thing about “computer make-up” and “mannequinesk” alterations is that for decades young women have been bombarded from all sides with a fake, unattainable ideal as represented in the media, advertising, and the entertainment industry. Today, corporate exploitation of human frailties, the mindless obsession with celebrity idolatry, and the dangerous pursuit of everything artificial has caused a hysterical rejection of our “flaws,” and an epidemic of dysmorphic perceptions and attitudes about the natural human form and its outer appearance. Anorexia, bulimia, Body Dysmorphic Disorder, extreme plastic surgery – all betray a crisis of self, and a crisis of identity that has exploded in recent history.

In examining the array of images, I couldn’t help but observe that the American version of Honig’s face, featured in the Huffington Post, underscores our society’s current obsession with the infantilized woman (usually devoid of pubic hair) as a desirable sexual object. In any case, Honig appears undeniably pubescent in this doctored photo. A second American photoshopped image (on her website) is an unabashed rendition of Angelina Jolie as the model for idealized feminine beauty. These are obvious western constructs that I’m already familiar with and can easily identify. It would be interesting to be able to spot how the other images reflect different aspects of popular culture in their respective countries. And out of curiosity, I would especially like to know which images were shopped by men, and which ones were done by women. I suspect that a pattern would emerge suggesting possible gender bias or preferences in rendering the female face, but a controlled study group would be essential for this kind of research.

Nevertheless, I admit that viewing the Before & After gallery vis-à-vis the country of origin is intriguing. And I do applaud Honig’s personal growth and cultural awakening, her openness to “the concept of religion and custom, not just aesthetics,” her realization of how uneven her natural skin tone is. BUT the fact remains that her thesis is shallow, disappointing, and does nothing to address cultural stereotyping or the pressure on men and especially women everywhere to “measure up” in the beauty department somehow, some way. After all, foot binding, invented to achieve the coveted (albeit crippled and pus-oozing) lotus foot, was the pinnacle of Chinese status, beauty, and sexiness not so long ago. And let’s not forget the rib-cracking corsets with the 16-20 inch target waistline… but I digress.

What’s most frustrating is that she hints at the problem of “unattainable standards of beauty,” but then superficially glosses over it by stating, “when we compare those standards on a global scale, achieving the ideal remains all the more elusive.” She never says, just be yourself and forget the brainwashing you’ve been subjected to. She never wonders about women around the world and their struggles to negotiate imposed patriarchal values and standards. She never talks about the consequences of buying into the beauty myth or asks how we even got to his point. All of these things scream out to be examined and have everything to do with her project, but are ignored. This could not be better illustrated than by her failure to comment on the two American versions of her image discussed earlier. Even worse, how is it helpful or even acceptable to stereotype tastes and trends in different countries based on individual and subjective photoshopped ideals of feminine beauty in this day and age? If nothing else, it’s problematic.

Honig has missed a golden opportunity to dig beneath the surface and actually say something – that striving for artificial, exterior beauty (some cultures may be more afflicted than others) is a soul-numbing endeavour, where we as humans can never win, and all the while risking losing touch with the essence of our inner being, where our true strength and beauty resides. As Duberman concludes, perhaps the myth of a singular beauty norm has been dispelled (for whom I wonder), but nothing in her article or the project questions, educates, or enlightens. It saddens me to realize that Jean Kilbourne’s message in the Killing Us Softly series has been lost and trampled under the feet of new generations eager in their relentless quest for physical perfection.

In closing, I skimmed through enough of the extensive comment section of the article to get a sense of overall reactions to the Before & After project, which only served to prove my point. There was an overwhelming amount of criticism, scorn, and ridicule over the quality of the photoshopping and retouching, which tells me that most did not bother to skip over to Honig’s website to gather more information about the project, or to even ponder and reflect on her motives and the bigger picture. It was all about skill and appearances. Maybe if I dig a little deeper I might find a few kindred souls searching, like me, for actual meaning and discourse. I know you’re out there… somewhere.

Before & After by Esther Honig

Huffington Post Article by Amanda Duberman

Killing Us Softly 4 Trailer