Empowered Amateur Posers
DOI:
https://doi.org/10.58519/aesthinv.v6i2.17144Keywords:
self-portraiture, portraiture, modeling, poser, professional model, amateur model, empowermentAbstract
Aurélie Debaene cites a lack of aesthetics research on the professional art model, concluding that the artistic enterprise of collaboration or 'partnering' between model and artist can lead viewers to under-appreciate their conjoined creativity and skill. I argue for a collaborative model that extends the notion of art model beyond the professional to the amateur art model/poser/performer. On this model, an artist can achieve success in an artwork by: (1) posing their self in a self-portrait and/or (2) inviting viewers to pose in artworks designed to 'partner' together in creating an aesthetic experience of shared creativity, skill, and pleasure.
Downloads
References
Borzello, Frances. Seeing Ourselves: Women’s Self-Portraits. Harry N. Abrams, Inc., 1998.
Brand [Weiser], Peg. ‘Changing Perceptions of Beautiful Bodies: The Athletic Agency Model’. In Somaesthetics and Sport, edited by Andrew Edgar, 85–113. Brill, 2022.
———. ‘Feminist Art Epistemologies: Understanding Feminist Art’. Hypatia: A Journal of Feminist Philosophy 21, no. 3 (2006): 166–89.
———. ‘Feminist Criticism: On Disturbatory Art and Beauty’. In A Companion to Arthur C. Danto, edited by Jonathan Gilmore and Lydia Goehr, 345–54. John Wiley & Sons, Inc., 2022.
———. ‘Pittura: A Gendered Template for Painting’. In The Routledge Companion to the Philosophies of Painting and Sculpture, edited by Noel Carrol and Jonathan Gilmore, 322–36. Routledge, 2023.
———. ‘Review of Alexander Nehemas, Only a Promise of Happiness: The Place of Beauty in a World of Art’. Caa.Reviews, October 2007. http:www.caareviews.org/reviews/1051.
———. ‘Review of Charles Harrison, Painting the Difference: Sex and Spectator in Modern Art’. Journal of Aesthetics and Art Criticism 65, no. 2 (2005): 244–46.
Chadwick, Whitney. ‘How Do I Look?’ In Mirror Mirror: Self Portraits by Women Artists, edited by Liz Rideal. Watson-Guptill Publications, 2001.
Cheney, Alicia Craig Faxon, Liana de Girolami, and Kathleen Russo. Self-Portraits by Women Painters. Ashgate, 2000.
Clay, Jean. ‘Ointment, Makeup, Pollen’. October 27 (1983): 3–44.
Debaene, Aurélie. ‘Posing Skill: The Art Model as Creative Agent’. In Proceedings of the European Society for Aesthetics, edited by Connel Vaughan and Iris Vidmar Jovanovic, 11:214–31, 2019.
———. ‘The Art Model as Performer’. Aesthetic Investigations 5, no. 1 (2021): 7–27.
———. ‘The Truthful Portrait: Can Posing Be a Tool for Authenticity in Portraiture?’ Journal of Aesthetics and Art Criticism 79, no. 4 (2021): 440–51.
Drudge, Drema. ‘Victorine Meurent, More than a Model’, March 2020. https://artherstory.net/victorine-meurent-more-than-a-model/.
Fellah, Nadiah Rivera, and Tricia Laughlin Bloom. Wendy Red Star: A Scratch on the Earth. Newark Art Museum, 2019.
Guerilla Girls. ‘Do Women Have To Be Naked To Get Into the Met. Museum?’, 1989. https://www.metmuseum.org/art/collection/search/849438.
Harrison, Charles. Painting the Difference: Sex and Spectator in Modern Art. University of Chicago Press, 2005.
Larson, Selena. ‘Google App Matches Your Face to a Famous Painting’. CNN Money, January 2018. https://money.cnn.com/2018/01/15/technology/google-art-selfie-app-how-to/index.html.
Lipton, Eunice. Alias Olympia, A Woman’s Search for Manet’s Notorious Model and Her Own Desire. Meridian, 1994.
Nehamas, Alexander. Only a Promise of Happiness: The Place of Beauty in a World of Art. Princeton University Press, 2007.
O’Grady, Lorraine. ‘Olympia’s Maid: Reclaiming Black Female Subjectivity’. Afterimage 20, no. 1 (1992).
Peters, Daniel. ‘Enactment in Listening: Intermedial Dance in EGM Sonic Scenarios and the Listening Body’. Performance Research 15, no. 3 (2010): 81–87.
Prior, Ryan. ‘An App That Turns Your Photos into Renaissance Paintings Became so Popular That It Crashed’. CNN Style, July 2019. https://www.cnn.com/style/article/ai-photo-app-renaissance-painting-trnd-scn/index.html.
Sparks, Kaegan. ‘Posing Modernity: The Black Model from Manet and Matisse to Today’. Artnews, April 2019. https://www.artnews.com/art-in-america/aia-reviews/posing-modernity-the-black-model-from-manet-and-matisse-to-today-62650/.
Downloads
Published
Issue
Section
License
Copyright (c) 2023 Peg Brand Weiser
This work is licensed under a Creative Commons Attribution 4.0 International License.
Authors who publish with this journal agree to the following terms:
Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal. Note: up to volume 4 issue 1, an incorrect copyright line appears in the PDFs of the articles.
Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
How to Cite
