This is a 1989 Herb Ritts photograph of the supermodel old guard. There's Stephanie, Cindy, Christy, Naomi and Tatjana. And now for something completely different...
From the NYT article "Girth and Nudity, A Pictorial Mission" on the origins of the FBP:
"Initially, he was interested in replicating Herb Ritts’s popular image of a group of nude supermodels clustered together on the floor, and a Helmut Newton diptych of women clothed and then unclothed in the identical pose. Ms. MacAllister and some of her friends agreed to be his subjects. He then posed the women to simulate Matisse’s “Dance” and Marcel Duchamp’s “Nude Descending a Staircase.”
While I acknowledge that over-doing this strategy could get gimmicky, I do like these REVISIONS (in the truest sense) of our culturally-inherited images of female beauty.
I notice a sort of vacancy in the eyes of the models. Where their poses are sexualized and overly vulnerable, the women from Nimoy's book have strength and resolve in their poses. In the eyes of Nimoy's models, I see resilience and confidence. In a culture filled with the hatred of fatness, it seems to take more resolve, strength of character, and determination to love and accept thyself as is. Bravo for their bravery.
"A lighthearted guide to combating a silent societal epidemic...[T]he authors do a great service in bringing to light a fear that women may believe they suffer with alone...The concepts and solidarity offered here should prove valuable for millions of American women." --Publishers Weekly
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From the NYT article "Girth and Nudity, A Pictorial Mission" on the origins of the FBP:
"Initially, he was interested in replicating Herb Ritts’s popular image of a group of nude supermodels clustered together on the floor, and a Helmut Newton diptych of women clothed and then unclothed in the identical pose. Ms. MacAllister and some of her friends agreed to be his subjects. He then posed the women to simulate Matisse’s “Dance” and Marcel Duchamp’s “Nude Descending a Staircase.”
While I acknowledge that over-doing this strategy could get gimmicky, I do like these REVISIONS (in the truest sense) of our culturally-inherited images of female beauty.
I notice a sort of vacancy in the eyes of the models. Where their poses are sexualized and overly vulnerable, the women from Nimoy's book have strength and resolve in their poses. In the eyes of Nimoy's models, I see resilience and confidence. In a culture filled with the hatred of fatness, it seems to take more resolve, strength of character, and determination to love and accept thyself as is. Bravo for their bravery.
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