ICM Final

I want to continue upon the idea of the nude and it’s viewer.  I’ve been thinking a lot of the different ways a nude can be shot, and interpreted.  The gaze of a voyeur, a lover, a compatriot, or a family member and how these have evolved and changed over time.


                The Venus of Urbino by Titian


Olympia by Manet


Grand Odalisque by Jean Auguste Dominique Ingres and by Lalla Essaydi

woodman_untitled_providence_p064-web– Francesca Woodman


– Sally Mann


-Les Krims


-Flor Garduño


-Mona Kuhn


-Lucien Clergue

I want to make an interactive piece where the viewer can change various photographic nudes.  I want to take pieces of some of my favorite photographs and make them features which can be added to other photos.

  • The viewer can add props to the photos to make them more humorous, surreal, sexual or somber.


  • The viewer can overlay filters: color tints, shadows, fractals and lace.

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  • The viewer can include themselves in the photo (create capture video) in different ways.  They can add their head to the body (similar to the Francesca Woodman image)
  • The viewer can have a caption.

This will allow the viewer to make the frame in which they see the image known (if they wish) or allow them to change the frame in which they see it.

Surreal? Add a fish on their head.  Sexual? Add



Men act and women appear. Men look at women.  Women watch themselves being looked at.”                   – John Berger, Ways of Seeing

“She is not naked as she is.  She is naked as the spectator sees her.”                                                                     –  John Berger, Ways of Seeing

“To be naked is to be oneself. To be nude is to be seen naked by others and yet not recognized for oneself.  A naked body has to be seen as an object in order to become a nude.  Nakedness reveals itself.  Nudity is placed on display.”                                                                               – John Berger, Ways of Seeing

“Not to say that the artist’s work — similar to pornography isn’t also evocative.  But unlike, pornography, it doesn’t appeal exclusively to our senses or carnal appetites.  It also engages our aesthetic judgement about how this or that figure illustrates and ideal of human beauty.”          – Leon F Seltzer, Psychologist

“The aim of the pornographer is hardly to help his or her (most likely his) audience rejoice in the human form — or in some way honor physical intimacy, or the joys of the flesh.  Rather, the objective (typically leaving little or nothing to the imagination is to “turn on” the viewer…. Admittedly the erotic might end up having the same effect.  Still, the ideal behind erotica is to transcend its literally provocative subject  –to add a third dimension if you will.  In aspiring to celebrate the varieties of sexual bliss, and the universal desire for carnal union (which, deep within, might just carry hints of the divine).”                                                            – Leon F Seltzer, Psychologist