By Lauren Panepinto
Two years ago I wrote an article for Muddy Colors about my feelings on agency vs. objectification in SciFi/Fantasy art, and specifically how that applies to how I art direct book covers. I called it The No-Stillettos Rule, and it started a lively discussion both on this blog and on io9.com, who republished it, about trying to figure out where the line is between what makes an image objectifying vs. empowering. The truth of the matter is, it’s very personal, and each person’s line between objectifying and empowering is going to be massively affected by their personal history, education, religion, family, politics, feelings about art, freedom, etc. It’s a complicated stew — one that we’re not going to try to unpack here — and ultimately it’s each person’s right to decide where their line falls. However, I did state, in general, that I feel you can start to distinguish whether a piece of art is meant to be objectifying or empowering by looking at the agency of the character. I used the Frazetta pieces below to illustrate the difference:
|In these images, the women are accessories, trophies, afterthoughts to the men in the scene. They have almost no emotion or action of their own.|
|However, in these images, the women — just as naked as the ones above — have agency in the story of each image. They are acting, they have emotion. That’s agency. |
I want to be sure to call out that this isn’t just a men-objectifying, women-being-objectified issue. Objectification can happen to anyone of any gender, and is a particularly a complicated issue and important discussion in the transgender community. In the history of art, it is overwhelmingly true that the nudes are women and the audience (and the artists) have been male, but time’s are changing and it’s an issue everyone has to think about, especially if you are an image-maker.
Of course, there are people who would disagree and say all the images above are objectifying, just because they are nudes at all. And that’s their right. This stuff is super personal. But it’s not a private issue for artists — it’s a public issue because we are making images of people and putting them out in the world. We can make any artistic decision we want to make — that’s the beautiful thing about art — but we can’t afford to be uneducated about the impact of the images we are making. Which is why I am always rolling around this debate in my head, talking to both artists and models, performers and collectors, and all genders about it.
And the documentary of the process is in rough cut and will be out soon:
Recently Allan has been working on portrait books that feature both women and men posing for nude portraits. However, they are focused on what it means to these models to be posing nude. Most of the models reveal themselves for a living — professional models, body builders, porn stars, burlesque dancers, artist models, performance artists — many of them are objectified for a living, and Allan wanted to give them a place to control their own nudity, to give them agency over how they were revealed. They aren’t playing a role or living up to someone else’s image, they were showing the genuine person underneath those roles. The first project was called Slip: Naked In Your Own Words.
Sash, a professional nude model for Suicide Girls, talks about the differences between what she sees in an artist’s view of her thru a lens, vs. what she sees in the mirror.
What I love about Allan is he’s always including great artists in his projects. In Slip’s very successful Kickstarter campaign, he had many artists collaborating to create art with the portraits.
I found it fascinating to read how many different approaches and experiences the models had with their own bodies, how they feel about people seeing them, how they deal with objectification and agency in their images, and how this project and the images empowered them.
Once again, Allan is teaming up with models and artists to provide a platform to explore how we all feel about the nude form, and the struggles we can have with both revealing ourselves, and with viewing others revealed.
Again Allan has teamed up with some amazing artists to do various rewards and covers for the editions:
The SERAPH Kickstarter is live right now, until July 6th, and there are rewards where you can get both Slip and Seraph together. The project is already overbacked, so consider it a pre-order campaign, and the only time you’ll be able to get the artist rewards.
I back and want to promote this project, because these are important conversations to have, and I believe artists work out these debates thru the art they make. I’ve talked to Allan, and he sometimes feels that as a guy taking nude pictures of mostly women, people will automatically feel that he is playing an objectifying role. He prefers to have the women in the project (and the men, of course) speak for themselves about what the images mean to them. While I find that admirable, and applaud artists making room for their models’ and collaborators’ voices when they talk about their project, I think it’s also important for the artist to speak about their motivations too. Allan’s lens is the thing that is making the space for these important debates and discussions and realizations to take place, and I think it’s important to be paying attention to, and supporting, artists and projects who are tackling this very controversial ground head-on.
I worry that sometimes I am on the wrong side of the conversation. As a straight white male who often photographs beautiful women in the nude, it’s easy to see why. I feel very much like these projects are as much about that journey as they are about the images themselves.. expanding the signal to include different voices, different bodies. So what began within SLIP, continues in Seraph, to the best of my abilities, anyway. Sometimes it means something. Sometimes, if I'm lucky, a subject sees something transformative in their image. In SLIP it happened once, and that transcendent moment continues to resonate, beyond the work, beyond the books. So I’ll finger my crosses, and hope to move something again, so that it in turn, moves me.
And, full disclosure, I had the honor of being photographed by Allan recently. Marc Scheff & I needed photos for our various Drawn + Drafted projects, and I needed new speaker/bio photos (because the ones I have been using are so outdated my hair isn’t even green), and Allan was amazing to squeeze us in at the end of a long day of shooting. I watched a few of the Seraph shoots happen, and then it was my turn. The story of what happened is very personal, and lives over on Mallory O’Meara’s blog, where we wrote a combined post about being photographed and then having to come face to face with the images of ourselves.
I think J.A.W. Cooper, who is collaborating on cover art and original art for the project, really sums it all up best:
Allan Amato is one of those very rare individuals who is so contagiously curious and enthusiastic about making art that it is impossible not to get pulled in. Even more rare is his ability to pour boundless energy into a creative project and then to trustingly set it free in the hands of another artist. I think it is this drive toward collaboration which sets him apart as a world class photographer. Watching him work with his subjects it becomes apparent that he is able to create such transcendent portraits with an almost heightened sense of reality by harnessing his skill for collaboration to encourage a performance that reveals more than what is skin deep.
Listening to the testimony of the incredible people Allan Amato has photographed for his latest book SERAPH it is undeniable that the significance of his work is in his ability to help people to see themselves profoundly."
Labels: article, inspiration, Lauren Panepinto, LP