Leaving nothing to the shadowy side of the imagination. Unvarnished. To see the naked without illusions and still accept it, warts and all. If the familiarity becomes tedious and banal, so be it. Its emotional language has simply talked itself out, exhausted the conceivable narratives and in the process lost the magic and mystery of joyous anonymity. Maybe the error is the assumption that the body is absurd, something unnatural and odd that must be lent and used, ad nauseum to all the desires that the suggestive can fawn over in its fertile imagination. Maybe its just the fixation, so anchored, that we cannot separate inner and outer life….
…Surprisingly, many of the works are bourgeois for all their effrontery. The bourgeois are no longer bothered by the naked truth — by any version of physical reality: nakedness is no longer daring, but another marketable cliché….
…Strange as it may seem to say so, the truly irksome nakedness belongs to the abstract bodies — to Jean Dubuffet’s Corps de dame, esplanade de peau (1950), Pablo Picasso’s Nu allongé; la sieste (1954), Alberto Giacometti’s Femme de Venise VII (1956), Yves Klein’s Ant 160 (1960), Willem de Kooning’s Two Women (1964), and Richard Diebenkorn’s Nude on Blue Ground (1966), among other works. Whatever their manner, medium and mood, these works bring out the mystery, complexity and peculiarly disturbing — not to say uncanny — character of the body. Read More:http://www.artnet.com/magazine/features/kuspit/kuspit11-12-01.aspa