Modern Body Painting
There has been a revival of body painting in Western society since the 1960s, in part prompted by the liberalization of social mores regarding nudity and often comes in sensationalist or exhibitionist forms. Even today there is a constant debate about the legitimacy of body painting as an art form. The current modern revival could be said to date back to the 1933 World's Fair in Chicago when Max Factor, Sr. and his model Sally Rand were arrested for causing a public disturbance when he body-painted her with his new make-up formulated for Hollywood films. Body art today evolves to the works more directed towards personal mythologies, as Jana Sterbak, Rebecca Horn, Youri Messen-Jaschin or Javier Perez.
Body painting is not always large pieces on fully nude bodies, but can involve smaller pieces on displayed areas of otherwise clothed bodies.
Body painting led to a minor alternative art movement in the 1950s and 1960s, which involved covering a model in paint and then having the model touch or roll on a canvas or other medium to transfer the paint. French artist Yves Klein is perhaps the most famous for this, with his series of paintings "Anthropometries". The effect produced by this technique creates an image-transfer from the model's body to the medium. This includes all the curves of the model's body (typically female) being reflected in the outline of the image. This technique was not necessarily monotone; multiple colors on different body parts sometimes produced interesting effects.
Joanne Gair is a body paint artist whose work appeared for the tenth consecutive year in the 2008 Sports Illustrated Swimsuit Issue. She burst into prominence with an August 1992 Vanity Fair Demi's Birthday Suit cover of Demi Moore. Her Disappearing Model was part of an episode of Ripley's Believe It or Not!.
Body painting is commonly used as a method of gaining attention in political protests, for instance those by PETA against Burberry.
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Famous quotes containing the words modern, body and/or painting:
“Most of our modern portrait painters are doomed to absolute oblivion. They never paint what they see. They paint what the public sees, and the public never sees anything.”
—Oscar Wilde (18541900)
“Industrial societies turn their citizens into image-junkies; it is the most irresistible form of mental pollution. Poignant longings for beauty, for an end to probing below the surface, for a redemption and celebration of the body of the world. Ultimately, having an experience becomes identical with taking a photograph of it.”
—Susan Sontag (b. 1933)
“Painting seems to be to the eye what dancing is to the limbs. When that has educated the frame to self-possession, to nimbleness, to grace, the steps of the dancing-master are better forgotten; so painting teaches me the splendor of color and the expression of form, and as I see many pictures and higher genius in the art, I see the boundless opulence of the pencil, the indifferency in which the artist stands free to choose out of the possible forms.”
—Ralph Waldo Emerson (18031882)