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MAN: Right through history,
the nude has figured in art
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00:00:11,320 --> 00:00:14,480
and the reason we identify
so much with the figure
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00:00:14,480 --> 00:00:16,520
is because it is us.
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00:00:16,520 --> 00:00:19,520
WOMAN: It's a genre that always
reinvents and always has an interest
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because of its link
to the human condition.
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HANNAH: Welcome back, folks,
to our series on the Nakedy Nude.
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You've seen one bum,
you've seen 'em all, really.
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My name is Hannah Gadsby.
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You might know me as a comedian...
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..or you might not.
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00:00:38,280 --> 00:00:41,600
Last week, we turned back time,
just like Cher,
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to travel through
the cannon of art history.
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We examined ancient abdominals,
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Renaissance ideals
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and nude women failing at furniture.
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So why is everyone naked
at this party?
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You know, why...why not?
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00:00:55,720 --> 00:01:00,000
We also spoke to some of
our best-known contemporary artists
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to get their take on the nude.
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MAN: Having the human body
to navigate aesthetically
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is endlessly fascinating.
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MAN: It is sometimes difficult
to disrupt the narrative,
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but I do it anyway.
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What else has an artist got to do?
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Here she is,
back for more bods in the nod.
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This time,
I'm moving on from ye olde days
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to look at some more modern art
of the starkers.
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Hello, 20th century.
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This is a story about the male gaze -
Z-E gaze, looking -
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and how men's views of the muse
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eventually led to
a feminist art revolution.
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The gaze, people. The gaze. Z-E.
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Eyes up here.
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I'm a woman
of the homosexual variety.
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So when I stroll around a gallery
gay gazing at women in the nude,
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just sitting, having bath
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or laid out stone cold unconscious,
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I feel a little compromised.
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It's called A Favourite Custom,
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and I think we're meant to believe
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that the favourite custom
is women bathing.
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Like, women just LOVE to bathe.
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But I think A Favourite Custom
is referring to
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men love watching women
having baths.
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You know, it's about a viewer,
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almost always assumed to be male,
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looking at a desired body,
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which is almost always female.
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But the allegory of the ideal nude
or the bathing nude is interesting,
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because of course, you can look
but you can't touch,
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and that's the tension that is
always felt in these paintings.
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Don't get me wrong, I love baths.
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Having a bath is definitely
in my top 10 of customs.
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But one of my real favourite customs
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is not being watched
while being naked.
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This is The Knight Errant
by John Millais.
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I reckon this is
a pretty good example
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of the power imbalance
implicit in the male gaze.
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What are we looking at here, ladies?
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You know more about life than me.
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Well, he's rescuing
a damsel in distress.
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Yeah.
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But I'm wondering
if he actually tied her up.
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What about the two guys running away
in the back top-right hand corner?
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Ah! They're naked too. Aha!
And then... Are they?
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They've been at it. Yes, look!
They're just silhouettes.
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There's no way you could tell that.
They're naked.
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You can't tell if they're...
No, they're naked.
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OK, alright, building a story.
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There's blood on his sword.
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Oh, gosh.
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We get lots of questions
about the painting, you know,
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"What's happening in this painting?
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"Why is the woman nude?
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"Why is the knight tying her
to the tree or untying..."
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You know, there's an interpretation
of his involvement.
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So, it's actually
quite a difficult painting,
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both for viewers at the time
and viewers now to read.
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How do you find the juxtaposition?
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Like, she's a beautiful nude
and that's your first reaction,
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and then it's like,
"Gosh, it's quite a brutal story?"
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Yeah, when you look at the story,
it is, yes, yeah.
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Well, I didn't see the blood
on the sword, so I didn't realise.
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I've ruined it. I'm so sorry.
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Yeah, so you should be.
Mm.
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In this painting, everyone is
looking at this woman in the nude
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who doesn't get to look at anybody.
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Interesting titbit, though,
it wasn't always like that.
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Originally, The Knight Errant
looked more like this,
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with our lady facing the knight,
not facing away.
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But it did not go down so well
with the audience at the time.
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This painting didn't sell
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because people found it
difficult to look at.
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The reason they found it
difficult to look at
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is because she was looking
at her knight in shining armour,
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which made her active
in the romance.
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JUSTIN PATON: Millais actually
ended up performing
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a kind of cosmetic surgery
on his own painting
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and turning what was formerly quite
a bold glance from the woman
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into the more coy or retiring gaze
that we see at the moment.
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EMMA CHAMBERS:
The idea of the female nude
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is that it's a body to be looked at
by men in the 19th century,
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essentially.
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And, um, once that nude
starts looking back at you,
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it starts to create
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this different atmosphere
between viewer and between subject
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and become much more troubling
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in terms of the associations
with modern day situations
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in which women
might remove their clothes.
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Sex.
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Indeed, yeah.
Yeah.
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Good solution just...just...
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(IMITATES CREAKING)
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Better!
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So, in the 19th century,
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it was scandalous for a pretend,
made-up woman in a painting
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to even look at a man,
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because it implied that
she was of loose morals.
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00:05:52,520 --> 00:05:56,960
But these rules didn't just apply to
the pretend people in the painting,
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they also held true
in the art schools
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where the people learnt
to paint the pretend people.
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The male models that were
used in the academies
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00:06:06,120 --> 00:06:10,680
were generally soldiers
or boxers, athletes,
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so classical, heroic, male figures.
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The female models, probably
working girls of various kinds.
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And there were debates
about how moral both they were
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and the practice of drawing
from the female nude model.
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Up next, modern art.
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Big changes, people. Big changes.
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Rules were broken.
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Modern art carries with it
the assumption
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that it destroyed traditional art.
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And it did.
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But...
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..did it?
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It's a different language,
to be sure.
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But it's the same story.
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The nude as subject remained
but that's about it.
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The non-conformists
no longer wanted to be burdened
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by having to always represent them
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as realistic three-dimensional beings
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on traditional
two-dimensional surfaces.
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Modernists didn't need
to paint naked people
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from stories of the Bible
or mythology,
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they just needed to paint
naked people.
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And when I say people, I mean women.
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And when I say women, I mean objects.
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And this was no longer happening
so much
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in formal institutions
or art classes,
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with many of the artists moving
to their own private studios
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and calling models 'muses'.
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The power imbalance inherent
in the artist-model relationship
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continues to require
careful negotiation to this day.
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Photographer Bill Henson
works closely with his models
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to develop long-term
trusted relationships,
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often collaborating with them
from adolescence well into adulthood.
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When I find the necessary
subject component,
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let's sound clinical for a minute.
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When things bubble up from wherever
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and you start to get an idea
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of what you think the necessary
subject components might be,
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you're able to pick up a camera
and go in search of it.
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It might be a volcano
sticking out of the sea,
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it might be a particular face,
a particular body.
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At a certain point,
you think you know what you need.
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When you find someone like that,
if we talk about human models,
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it's a very big deal.
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Because I work with people
that I photograph for years.
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In 2008, police seized key works
from one of Bill's exhibitions
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and commenced an investigation into
alleged images of child pornography.
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Six months later,
no charges were laid.
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There's been controversy,
obviously, that's followed you.
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It bothers me on your behalf,
but that's not my job.
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Um...
It doesn't bother me.
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Well, no, it bothers me in the sense
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that I think
it's incredibly important
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to have that conversation
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and to have these bodies exist.
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My feeling on it is like,
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almost everyone's favourite version
of their own body
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is the body they had they before
complication, you know, before...
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Yes. I think, look,
there are some unfortunate things
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which can distract people
individually
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and one of the...
the sad by-products of that
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is that the young human body
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has sort of become
a haunted landscape, you know.
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And that's, I think,
tremendously unfortunate.
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It's as though it's no longer
possible for the public imagination
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to be just naturally in awe
of the beauty of nature.
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For Bill, the process
of photographing a model
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is very technical, almost scientific.
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Usually the sessions
are very, very long
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and I give great many thousands
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of very wooden
and specific instructions.
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00:09:57,880 --> 00:10:00,240
"Turn your eyes that way,
put your head that way."
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00:10:00,240 --> 00:10:02,440
"You've got a cold.
Breathe through your mouth.
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00:10:02,440 --> 00:10:03,760
"Move your chin up slightly.
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00:10:03,760 --> 00:10:05,640
"Move your body that way.
Your feet are doing this."
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00:10:05,640 --> 00:10:08,520
Things slow down. You know,
their pulse rate slows down.
200
00:10:08,520 --> 00:10:09,920
Everything, their breathing
slows down.
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00:10:09,920 --> 00:10:12,600
Even though they're concentrating
on doing 50 things at once,
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00:10:12,600 --> 00:10:14,320
you build it
and build it and build it
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00:10:14,320 --> 00:10:16,640
and by the end, you know...
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00:10:16,640 --> 00:10:17,960
They're just standing there
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00:10:17,960 --> 00:10:20,760
and by the time they're doing that
the sweat's pouring off
206
00:10:20,760 --> 00:10:22,360
and they're completely self-absorbed
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00:10:22,360 --> 00:10:24,560
in trying to kind of do
what you want them to do.
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00:10:24,560 --> 00:10:26,320
Given many of his models
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00:10:26,320 --> 00:10:28,600
have spoken of their close
and collaborative
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00:10:28,600 --> 00:10:30,720
working relationship with Bill,
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00:10:30,720 --> 00:10:34,360
to my mind at least, it feels
the controversy around his work
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00:10:34,360 --> 00:10:36,920
amounts to little more
than tabloid hysteria...
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00:10:38,480 --> 00:10:42,160
..and a lost opportunity
for constructive, adult discussion.
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00:10:50,600 --> 00:10:53,680
Much of the art
of the first half of the 20th century
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was defined by -isms
and movements coming and going.
216
00:10:57,920 --> 00:11:02,040
One that continues to really
capture our imagine is surrealism.
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00:11:03,440 --> 00:11:06,880
This movement wasn't shy
about keeping art real,
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00:11:06,880 --> 00:11:09,480
but they just did it
in a very unreal way.
219
00:11:09,480 --> 00:11:11,440
You know, conceptual.
220
00:11:11,440 --> 00:11:14,120
They were tapping into
their dreams and subconscious,
221
00:11:14,120 --> 00:11:17,720
which were quite often
filled with naked women.
222
00:11:20,160 --> 00:11:21,680
As we rolled into the '50s and '60s,
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00:11:21,680 --> 00:11:23,800
the nude became
more and more subject
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00:11:23,800 --> 00:11:26,040
to a language
of individual expression
225
00:11:26,040 --> 00:11:27,840
rather than formal art movements.
226
00:11:31,520 --> 00:11:33,680
Brett Whiteley was very keen
to add his name
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00:11:33,680 --> 00:11:37,360
to the list of king hitters
of 20th-century art,
228
00:11:37,360 --> 00:11:40,560
so he left Australia
and got amongst it in London.
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00:11:40,560 --> 00:11:42,800
And you'd never guess
what he decided to paint
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for his first major series.
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00:11:45,480 --> 00:11:48,400
There you go - a woman having a bath.
232
00:11:53,320 --> 00:11:56,600
What do you call someone
who solves mysteries in gardens?
233
00:11:56,600 --> 00:11:57,600
Yeah?
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00:11:57,600 --> 00:11:58,920
Agapanthus Christie.
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00:11:58,920 --> 00:12:03,560
His subject was his wife
and long-time muse, Wendy Whiteley.
236
00:12:05,560 --> 00:12:09,560
And I wanted to ask her
about life as a muse.
237
00:12:09,560 --> 00:12:11,720
People are always saying,
"I've got your bum on the wall."
238
00:12:11,720 --> 00:12:12,840
And I'd just say,
239
00:12:12,840 --> 00:12:14,960
"Well, you've seen one bum,
you've seen them all, really."
240
00:12:14,960 --> 00:12:17,360
They're stylised,
they don't feel that personal,
241
00:12:17,360 --> 00:12:19,680
but then there are others
that feel very personal,
242
00:12:19,680 --> 00:12:22,320
and no, none of them
would I object to.
243
00:12:22,320 --> 00:12:23,800
What would you call yourself?
244
00:12:23,800 --> 00:12:26,400
Like, 'cause you speak
an awful lot for a muse.
245
00:12:26,400 --> 00:12:28,960
Like, muses are quiet, not chatty.
246
00:12:28,960 --> 00:12:31,240
They're supposed to be enigmatic.
Oh, yeah, a mystery.
247
00:12:31,240 --> 00:12:34,760
So, I used to think - until I spent
some time in group therapy,
248
00:12:34,760 --> 00:12:37,000
I used to think
I was very enigmatic.
249
00:12:37,000 --> 00:12:40,880
But when everybody started
bursting out laughing at that idea
250
00:12:40,880 --> 00:12:43,560
and saying, "Oh, no, your face
shows everything that's going on,"
251
00:12:43,560 --> 00:12:44,560
you know.
252
00:12:44,560 --> 00:12:46,920
But I'm fascinated with
the idea of being enigmatic.
253
00:12:50,640 --> 00:12:53,400
Would you call yourself
a collaborator in Brett's...
254
00:12:53,400 --> 00:12:56,120
Oh, I was a collaborator,
yes, in the past.
255
00:12:57,560 --> 00:12:59,520
Why are you sitting around
in the nude?
256
00:12:59,520 --> 00:13:02,600
No reason except that one does.
257
00:13:02,600 --> 00:13:04,080
Especially when you're in the bath.
258
00:13:05,840 --> 00:13:07,840
When Brett did his bathroom ones
259
00:13:07,840 --> 00:13:10,800
obviously it just related
to that domesticity thing
260
00:13:10,800 --> 00:13:15,600
of, you know, the wife or something
in the bath all the time.
261
00:13:15,600 --> 00:13:17,480
Just, you know,
I wasn't in the bath all the time.
262
00:13:17,480 --> 00:13:18,800
I want to ask you about that.
263
00:13:18,800 --> 00:13:20,560
He's just encouraging you
to have lots of baths
264
00:13:20,560 --> 00:13:22,920
or did you say, "I'm having a bath,"
and he's like, "Great"?
265
00:13:22,920 --> 00:13:25,400
I'd never pose for that long
for a painting.
266
00:13:25,400 --> 00:13:27,040
He'd make some drawings.
267
00:13:32,800 --> 00:13:37,520
In the 1970s, women began to object
to their objectification.
268
00:13:37,520 --> 00:13:41,440
They flicked the woman
as an object on her head. Ow!
269
00:13:45,320 --> 00:13:47,320
The Guerrilla Girls said it best.
270
00:13:47,320 --> 00:13:49,800
They let the facts
speak for themselves
271
00:13:49,800 --> 00:13:52,440
in the hope that one day,
women might be able to.
272
00:13:54,240 --> 00:13:57,400
EMMA CHAMBERS: The period
of the 1970s, 1980s,
273
00:13:57,400 --> 00:14:00,200
that was a period when
there were real challenges
274
00:14:00,200 --> 00:14:03,400
to the idea of how you
represented the nude
275
00:14:03,400 --> 00:14:07,440
and particularly feminist artists
using various strategies
276
00:14:07,440 --> 00:14:12,000
to critique the way
that women's bodies had been used,
277
00:14:12,000 --> 00:14:13,960
not just in high art
278
00:14:13,960 --> 00:14:15,680
but also in popular culture.
279
00:14:15,680 --> 00:14:17,800
So, there's
a really interesting moment
280
00:14:17,800 --> 00:14:21,760
where photography starts to
become a really key medium
281
00:14:21,760 --> 00:14:23,160
for feminist artists.
282
00:14:24,960 --> 00:14:28,760
And even though female artists
have never not existed,
283
00:14:28,760 --> 00:14:32,080
the feminist movement
said it out loud.
284
00:14:32,080 --> 00:14:33,720
These difficult girlies woke up
285
00:14:33,720 --> 00:14:36,040
and moved their own bodies
like they owned them
286
00:14:36,040 --> 00:14:37,280
and made art,
287
00:14:37,280 --> 00:14:39,240
insisting on using their own eyes
288
00:14:39,240 --> 00:14:42,120
to stare down the authority
of the male gaze.
289
00:14:43,320 --> 00:14:44,760
This one shocked me.
290
00:14:44,760 --> 00:14:50,200
This one...it's shown me
how common the body is
291
00:14:50,200 --> 00:14:52,760
but how unusual people
look at the components of it.
292
00:14:54,160 --> 00:14:56,920
It's just not your standard nude.
293
00:14:56,920 --> 00:14:59,520
Do you think that she's got
an iron on her head
294
00:14:59,520 --> 00:15:01,080
so she doesn't get wrinkles?
295
00:15:01,080 --> 00:15:04,200
Yes, and I think that she's going to
give you a straightforward opinion,
296
00:15:04,200 --> 00:15:06,120
if you'd had an opinion about her.
297
00:15:06,120 --> 00:15:07,120
Yeah.
298
00:15:07,120 --> 00:15:08,440
Like, she's not going to
muck around.
299
00:15:08,440 --> 00:15:11,080
There's no iron-y.
No irony in that one at all.
300
00:15:15,680 --> 00:15:17,640
WOMAN: This is called One Hand
Making the Other Hand.
301
00:15:17,640 --> 00:15:20,280
Alright, making...unfinished.
302
00:15:20,280 --> 00:15:22,640
And that's me when I was 23.
303
00:15:22,640 --> 00:15:24,560
Good choice of overall.
304
00:15:24,560 --> 00:15:28,600
Really places you
in the political...moment.
305
00:15:29,840 --> 00:15:34,960
Artist Julie Rrap broke onto the
Australian art scene in the 1980s.
306
00:15:34,960 --> 00:15:36,600
You should make bells.
You know, like - ding!
307
00:15:36,600 --> 00:15:38,200
Yeah, wouldn't that be great?
On the counter.
308
00:15:38,200 --> 00:15:42,200
She uses several mediums, but like
many of her feminist contemporaries,
309
00:15:42,200 --> 00:15:45,000
her first tool was the camera.
310
00:15:45,000 --> 00:15:47,640
And when I started out,
in a certain sense, you know,
311
00:15:47,640 --> 00:15:48,840
I started out as a painter
312
00:15:48,840 --> 00:15:52,240
and it was like I just...I couldn't
get beyond a certain point
313
00:15:52,240 --> 00:15:54,400
because everywhere I looked,
in a sense,
314
00:15:54,400 --> 00:15:57,760
the females were obviously
used as the subject matter,
315
00:15:57,760 --> 00:16:00,560
they weren't spoken about so much
in my time as the artist.
316
00:16:03,280 --> 00:16:06,440
So, I was looking at it more
as a woman wanting to be
317
00:16:06,440 --> 00:16:08,760
a maker of things,
318
00:16:08,760 --> 00:16:12,000
which, you know, rather than being
the model or the subject.
319
00:16:12,000 --> 00:16:14,960
So, I mean, the very first work
I did, Disclosures,
320
00:16:14,960 --> 00:16:17,240
you know, was like a kind of essay
on that, in a way,
321
00:16:17,240 --> 00:16:19,920
because I was in
all these photos naked.
322
00:16:19,920 --> 00:16:23,640
But I'd set the work up with
the cameras the way I did it,
323
00:16:23,640 --> 00:16:25,440
that people looking at that realised
324
00:16:25,440 --> 00:16:28,000
that every picture had a camera
in it, looking back.
325
00:16:28,000 --> 00:16:31,240
So, it was like this inversion
of voyeurism, in a way.
326
00:16:31,240 --> 00:16:36,520
And, you know, it was there to tease
people along a conventional line
327
00:16:36,520 --> 00:16:38,960
that's, "Oh, here's
a young woman's body,
328
00:16:38,960 --> 00:16:41,120
"you know, here to be consumed,"
as it were.
329
00:16:41,120 --> 00:16:44,040
It felt like it was something
I just had to confront.
330
00:16:44,040 --> 00:16:45,240
And most people came out
331
00:16:45,240 --> 00:16:47,400
and then they realised me,
who was clothed,
332
00:16:47,400 --> 00:16:49,320
obviously watching the show,
333
00:16:49,320 --> 00:16:51,320
was the person in the photos.
334
00:16:51,320 --> 00:16:53,160
And we had a dialogue about that,
335
00:16:53,160 --> 00:16:54,680
'cause it was quite confronting
for them.
336
00:17:01,680 --> 00:17:03,560
I mean, you use your body a lot.
337
00:17:03,560 --> 00:17:06,240
Like we said, let's call it a medium.
It's a tool.
338
00:17:06,240 --> 00:17:09,120
How do you feel about your body
outside of your work?
339
00:17:09,120 --> 00:17:11,560
Look, I'm a child of the '60s, so...
340
00:17:11,560 --> 00:17:13,960
We were talking about this recently
with some friends.
341
00:17:13,960 --> 00:17:16,240
You couldn't stop us
taking our clothes off.
342
00:17:16,240 --> 00:17:18,920
So, it was - it's a different era,
I think.
343
00:17:18,920 --> 00:17:21,960
Like, I never had
any attitude to it.
344
00:17:24,000 --> 00:17:25,440
But I think it is different
345
00:17:25,440 --> 00:17:29,600
when you're translating your nudity
into a space
346
00:17:29,600 --> 00:17:32,080
where you're asking
people to look at it,
347
00:17:32,080 --> 00:17:34,680
examine it almost,
in a very particular way.
348
00:17:36,040 --> 00:17:39,840
I want to talk to you
about Body Double, the piece.
349
00:17:39,840 --> 00:17:41,000
I love it.
350
00:17:41,000 --> 00:17:44,120
'Cause you use the term
"your body is a host".
351
00:17:44,120 --> 00:17:48,320
So, basically, it's just
two casts of me cast in rubber.
352
00:17:48,320 --> 00:17:50,920
So they're lying on a platform,
and then...
353
00:17:50,920 --> 00:17:52,520
It's a funny story,
'cause I had this idea
354
00:17:52,520 --> 00:17:54,120
that I would roll
in and out of myself,
355
00:17:54,120 --> 00:17:56,960
but I discovered
I'm not good at rolling.
356
00:17:56,960 --> 00:17:58,640
I looked like a baby elephant.
357
00:17:59,640 --> 00:18:02,720
So then I paid two dancers,
a male and a female,
358
00:18:02,720 --> 00:18:05,240
who were willing to do it
without their gear on.
359
00:18:05,240 --> 00:18:07,880
And so,
they did their rolls beautifully,
360
00:18:07,880 --> 00:18:09,120
'cause they're trained to do that.
361
00:18:09,120 --> 00:18:13,360
So...so that work, when you see
that work from a distance,
362
00:18:13,360 --> 00:18:14,800
the way it's meant to work
363
00:18:14,800 --> 00:18:17,760
is that you see what looks like
an actual naked body
364
00:18:17,760 --> 00:18:19,240
literally lying on the ground.
365
00:18:19,240 --> 00:18:21,360
And it does feel
incredibly realistic.
366
00:18:21,360 --> 00:18:24,720
And then, when you come up near it,
you...it's like interactive.
367
00:18:24,720 --> 00:18:26,000
So, it picks up your movement.
368
00:18:26,000 --> 00:18:30,360
And as soon as it does that, it sets
this sequence of rolling movements.
369
00:18:30,360 --> 00:18:34,000
So, the female figure
rolls in and out of both forms
370
00:18:34,000 --> 00:18:36,200
and then it dissolves into
the male figure.
371
00:18:45,560 --> 00:18:49,840
For me now, I'm just going to
come into my main practice.
372
00:18:49,840 --> 00:18:52,280
I'm just ripening up
to the right age.
373
00:18:52,280 --> 00:18:54,280
Yeah. Yeah, well, I mean...
(LAUGHS)
374
00:18:54,280 --> 00:18:57,400
You know, like, if I keep going with
it, it's going to get better
375
00:18:57,400 --> 00:19:01,440
because I'll get older and it's sort
of much more confronting, in a way.
376
00:19:05,360 --> 00:19:07,720
Julie and her international
contemporaries
377
00:19:07,720 --> 00:19:09,640
like Tracey Emin and Sarah Lucas
378
00:19:09,640 --> 00:19:12,040
continue to subvert
traditional tropes
379
00:19:12,040 --> 00:19:14,520
around the female body
and the male gaze.
380
00:19:15,720 --> 00:19:17,360
You know,
some are a bit grosser than others.
381
00:19:17,360 --> 00:19:19,400
Yeah, yeah? Which ones are gross?
382
00:19:19,400 --> 00:19:20,880
The chicken one.
Uh...chicken.
383
00:19:20,880 --> 00:19:22,360
You don't like Chicken Knickers?
No.
384
00:19:22,360 --> 00:19:23,600
No.
385
00:19:25,400 --> 00:19:26,960
I've always thought
of Chicken Knickers,
386
00:19:26,960 --> 00:19:28,640
by British artist Sarah Lucas,
387
00:19:28,640 --> 00:19:31,160
as kind of a challenge
to this painting,
388
00:19:31,160 --> 00:19:33,280
Origin of the World
by Gustave Courbet.
389
00:19:35,720 --> 00:19:38,120
But which one do you reckon
is the most 'foul'?
390
00:19:48,480 --> 00:19:50,080
Women were not the only humans
391
00:19:50,080 --> 00:19:54,400
who arced up
against the male gaze in the 1970s.
392
00:19:54,400 --> 00:19:56,080
Australian photographer William Yang
393
00:19:56,080 --> 00:19:58,920
sought to challenge
the hetero status quo
394
00:19:58,920 --> 00:20:01,920
by showing male nudes
from his perspective.
395
00:20:03,880 --> 00:20:06,360
It's a male gaze, sure,
396
00:20:06,360 --> 00:20:08,320
but a gay male gaze.
397
00:20:08,320 --> 00:20:10,040
Uh-oh.
398
00:20:10,040 --> 00:20:15,240
The thing that I enjoy most is
photographing an attractive male.
399
00:20:16,280 --> 00:20:19,240
It's like flirting with a camera.
400
00:20:19,240 --> 00:20:22,680
And who doesn't like to flirt with
an attractive person?
401
00:20:22,680 --> 00:20:24,240
So, this is Sydneyphiles?
402
00:20:24,240 --> 00:20:26,600
No, this is Friends Of Dorothy.
This is the gay one.
403
00:20:26,600 --> 00:20:30,840
These are like my first
intimate photographs
404
00:20:30,840 --> 00:20:33,160
that I took of encounters.
405
00:20:33,160 --> 00:20:36,960
So, I have a narrative called
"The Nude", "The Male Nude".
406
00:20:36,960 --> 00:20:41,840
It involves my encounters
over 40 years,
407
00:20:41,840 --> 00:20:43,680
like, sexual encounters.
408
00:20:43,680 --> 00:20:45,880
One night stands and all of that.
409
00:20:45,880 --> 00:20:47,440
And when I first started off,
410
00:20:47,440 --> 00:20:53,640
actually, there weren't that many
photographs around at all
411
00:20:53,640 --> 00:20:55,080
of naked men,
412
00:20:55,080 --> 00:20:59,440
not to the same degree
as there are now.
413
00:20:59,440 --> 00:21:04,680
There's very much a view
414
00:21:04,680 --> 00:21:10,240
that it's only the female body
that can be looked at in this way.
415
00:21:10,240 --> 00:21:15,760
And I suppose that's probably
what I want to convey
416
00:21:15,760 --> 00:21:17,440
as a political act.
417
00:21:17,440 --> 00:21:21,400
This is the gaze on the male nude
418
00:21:21,400 --> 00:21:26,360
as the female body has been gazed at
through the centuries.
419
00:21:26,360 --> 00:21:30,560
First, I thought that
the photographs were terrible
420
00:21:30,560 --> 00:21:34,760
'cause they were usually taken
in low-light situations.
421
00:21:35,880 --> 00:21:41,600
I was very conscious about being
a photographer in those early days
422
00:21:41,600 --> 00:21:44,320
and some of the images
were a bit soft
423
00:21:44,320 --> 00:21:49,240
and I never showed them
until later when I thought,
424
00:21:49,240 --> 00:21:51,200
"Oh, these images are really good
425
00:21:51,200 --> 00:21:54,440
"and they've got a quality to them,
an intimate quality to them."
426
00:21:54,440 --> 00:21:58,160
And often there was a good story
to it
427
00:21:58,160 --> 00:22:03,520
and I'd just write the story
on the body, on the photograph,
428
00:22:03,520 --> 00:22:05,040
directly on the photograph.
429
00:22:05,040 --> 00:22:07,640
Almost the body becomes
a vehicle for the story.
430
00:22:07,640 --> 00:22:09,000
Yes, that's right.
431
00:22:09,000 --> 00:22:11,520
And my encounter with it.
432
00:22:11,520 --> 00:22:17,000
In fact, the story has become
as interesting as the image for me.
433
00:22:17,000 --> 00:22:20,680
This one's called...
Homo Domesticus.
434
00:22:20,680 --> 00:22:22,840
(CHUCKLES)
435
00:22:22,840 --> 00:22:24,360
And the other one,
436
00:22:24,360 --> 00:22:25,600
this is very interesting,
437
00:22:25,600 --> 00:22:27,320
I'll just get you another one.
438
00:22:27,320 --> 00:22:32,160
I do have an image
called Untitled #1
439
00:22:32,160 --> 00:22:36,600
and it's two people post-coitus
440
00:22:36,600 --> 00:22:40,440
lying on the floor asleep.
441
00:22:40,440 --> 00:22:42,840
And I took that in the '70s.
442
00:22:42,840 --> 00:22:47,720
It was regarded as a pretty
out-there photograph then
443
00:22:47,720 --> 00:22:50,320
and it's even more shocking now.
444
00:22:50,320 --> 00:22:53,200
Institutions worry about
this photograph,
445
00:22:53,200 --> 00:22:55,600
whether they'll offend people.
446
00:22:55,600 --> 00:22:58,560
What do you think
would be offensive about it?
447
00:22:58,560 --> 00:23:02,160
It's implied anal penetration.
448
00:23:03,240 --> 00:23:05,240
It's scary.
Yeah.
449
00:23:05,240 --> 00:23:07,720
We're much more afraid
of showing penises
450
00:23:07,720 --> 00:23:09,720
than we are of showing
tits and bums.
451
00:23:09,720 --> 00:23:12,600
Do you think that's to do with
sexuality or fear of being...
452
00:23:12,600 --> 00:23:13,840
..the penis laughed at?
453
00:23:13,840 --> 00:23:16,640
Um...I think it's
a combination of things.
454
00:23:16,640 --> 00:23:20,120
I think that the legal status
of the penis
455
00:23:20,120 --> 00:23:24,000
is different from
the legal status of the naked woman.
456
00:23:24,000 --> 00:23:27,200
Well, you're actually not allowed to
show photographs of erect penises,
457
00:23:27,200 --> 00:23:28,280
for example.
458
00:23:28,280 --> 00:23:34,600
It's interesting the conversations
I have with censorship myself
459
00:23:34,600 --> 00:23:36,640
about showing this photograph.
460
00:23:36,640 --> 00:23:40,120
For me,
I want my photographs seen
461
00:23:40,120 --> 00:23:42,800
but I don't want them banned.
462
00:23:42,800 --> 00:23:46,000
I mean, I don't want to
upset people too much
463
00:23:46,000 --> 00:23:48,440
that they're going
to have an extreme reaction.
464
00:23:59,600 --> 00:24:03,520
In 1993, shortly after
the height of the AIDS epidemic,
465
00:24:03,520 --> 00:24:06,800
William Yang made this
remarkable work.
466
00:24:06,800 --> 00:24:10,880
There's another famous photograph
of mine called Fear of AIDS.
467
00:24:10,880 --> 00:24:14,000
It was taken on
a medium-format camera.
468
00:24:14,000 --> 00:24:16,000
And there was a fridge
in the dark room
469
00:24:16,000 --> 00:24:18,920
and I put the photographs
in the fridge.
470
00:24:18,920 --> 00:24:21,360
When I actually got around
to developing them,
471
00:24:21,360 --> 00:24:24,000
there was like this...
imprint of the paper
472
00:24:24,000 --> 00:24:26,160
where it had stuck
over the negative.
473
00:24:26,160 --> 00:24:28,760
I was appalled
when I saw it at first,
474
00:24:28,760 --> 00:24:30,280
and then I thought,
475
00:24:30,280 --> 00:24:32,600
"Hey, this is a terrific effect.
476
00:24:32,600 --> 00:24:36,760
It was very much of that time,
the early '90s,
477
00:24:36,760 --> 00:24:40,920
where you couldn't really have sex
without a kind of...
478
00:24:42,640 --> 00:24:44,640
..deep fear, actually.
479
00:24:44,640 --> 00:24:51,000
It didn't stop me, but I had this
deep fear underlying all my actions.
480
00:24:51,000 --> 00:24:54,240
This was the perfect metaphor,
I thought,
481
00:24:54,240 --> 00:24:57,040
was the contaminated image
482
00:24:57,040 --> 00:24:59,840
and so, I called it Fear of AIDS.
483
00:25:06,080 --> 00:25:09,680
So, as we edge
closer and closer to extinction,
484
00:25:09,680 --> 00:25:11,760
where is the nude at now?
485
00:25:14,600 --> 00:25:16,560
Contemporary art
is no longer limited
486
00:25:16,560 --> 00:25:19,320
to the rendering
of grand myths and history.
487
00:25:21,040 --> 00:25:24,080
We've moved away from
the ideal of Ancient Greece
488
00:25:24,080 --> 00:25:26,440
and the reclining women
of the Renaissance.
489
00:25:26,440 --> 00:25:28,320
We've struggled with the gaze...
490
00:25:30,360 --> 00:25:34,040
..and artists are feeling freer
to depict all kinds of bodies.
491
00:25:39,360 --> 00:25:42,000
WOMAN: These photos here
are very interesting.
492
00:25:42,000 --> 00:25:43,400
Yeah.
Very interesting.
493
00:25:43,400 --> 00:25:46,520
Yeah, you wouldn't see
an old man's naked body very often.
494
00:25:46,520 --> 00:25:48,840
No, not...
(ALL LAUGH)
495
00:25:48,840 --> 00:25:51,280
I'm married to one.
496
00:25:51,280 --> 00:25:55,320
It just shows there is
beauty in age, doesn't it?
497
00:25:55,320 --> 00:25:57,960
There's not beauty in my age.
498
00:25:57,960 --> 00:25:59,920
I think you sell yourself short.
499
00:25:59,920 --> 00:26:03,840
You now have the idea
that a male nude
500
00:26:03,840 --> 00:26:07,680
doesn't have to be young and
beautiful and have an ideal body.
501
00:26:07,680 --> 00:26:11,840
Here, he's looking very much at
all the faults and marks on the body
502
00:26:11,840 --> 00:26:14,200
and also, something that's
quite a taboo subject
503
00:26:14,200 --> 00:26:16,200
in relation to the nude -
an old body.
504
00:26:17,520 --> 00:26:19,520
Some artists say
we should have the abject body,
505
00:26:19,520 --> 00:26:21,320
some say we should have
the grotesque body,
506
00:26:21,320 --> 00:26:23,080
some say we should
have the anxious body,
507
00:26:23,080 --> 00:26:25,200
some say we should have
the vulnerable body.
508
00:26:25,200 --> 00:26:27,400
And I think that idea
of vulnerability is a key
509
00:26:27,400 --> 00:26:30,800
to what the art nude
can offer today.
510
00:26:30,800 --> 00:26:35,560
It's a body that is not perfect,
beautified, idealised.
511
00:26:35,560 --> 00:26:39,000
It is recognisably like our own
512
00:26:39,000 --> 00:26:41,160
and it's soliciting
a kind of powerful
513
00:26:41,160 --> 00:26:43,040
one to one emotional response,
514
00:26:43,040 --> 00:26:45,600
which says, you know,
"I am not Psyche, I'm not Diana,
515
00:26:45,600 --> 00:26:47,360
"I'm not some figure
out of mythology.
516
00:26:47,360 --> 00:26:50,200
"I'm a real person from the world
that you inhabit also."
517
00:26:51,680 --> 00:26:53,880
The nude in art may have evolved
518
00:26:53,880 --> 00:26:56,880
but you don't have to walk far
beyond the gallery walls
519
00:26:56,880 --> 00:26:59,240
to see that ancient ideals
and the male gaze
520
00:26:59,240 --> 00:27:02,080
are still very much with us today.
521
00:27:03,600 --> 00:27:07,840
For me personally, I like to
go into a gallery looking for hope.
522
00:27:11,040 --> 00:27:14,160
The Arched Figure
by the late, great Louise Bourgeois,
523
00:27:14,160 --> 00:27:16,000
who was 82 when she made it,
524
00:27:16,000 --> 00:27:18,800
with the help of her young assistant,
Jerry Gorovoy.
525
00:27:18,800 --> 00:27:22,600
To me, this is hope in a biscuit.
526
00:27:22,600 --> 00:27:25,840
To create the work,
they had to make a plaster trough.
527
00:27:25,840 --> 00:27:29,760
So, he was actually, you know,
bent forward,
528
00:27:29,760 --> 00:27:31,400
lying this way,
in the plaster trough.
529
00:27:31,400 --> 00:27:32,800
And he said it was agonising
530
00:27:32,800 --> 00:27:34,600
'cause, you know, you've
got to stay there for a while,
531
00:27:34,600 --> 00:27:35,840
the plaster gets hot.
532
00:27:35,840 --> 00:27:38,240
And also,
he said his feet started to cramp up
533
00:27:38,240 --> 00:27:39,480
as he was doing this gesture.
534
00:27:39,480 --> 00:27:41,200
So, that's what that is, isn't it?
Yeah.
535
00:27:41,200 --> 00:27:43,280
And yet, you know, it becomes
something very different
536
00:27:43,280 --> 00:27:45,160
at this point.
537
00:27:45,160 --> 00:27:47,560
In the story of
the artist-muse relationship,
538
00:27:47,560 --> 00:27:50,920
I really like the shift
that this work represents.
539
00:27:50,920 --> 00:27:55,880
Jerry Gorovoy has allowed his body
to be manipulated, literally,
540
00:27:55,880 --> 00:28:00,320
because he values
Louise Bourgeois' voice as an artist.
541
00:28:02,400 --> 00:28:03,680
Oh! Here we are.
542
00:28:03,680 --> 00:28:06,880
We're almost at the end
of our story of the nakedy nude.
543
00:28:06,880 --> 00:28:08,280
And this is where you'd expect me
544
00:28:08,280 --> 00:28:10,720
to tie it all up
into a neat little package
545
00:28:10,720 --> 00:28:12,520
of what and how to think.
546
00:28:12,520 --> 00:28:14,000
But I'm not going to do that,
547
00:28:14,000 --> 00:28:16,880
because I don't think
it's my story to finish.
548
00:28:16,880 --> 00:28:20,280
The story of the nude in art
is a work in progress,
549
00:28:20,280 --> 00:28:24,960
as it always has been
for thousands of years.
550
00:28:24,960 --> 00:28:27,880
But we are always questioning
the canon, aren't we? You are!
551
00:28:27,880 --> 00:28:29,080
I am.
I do.
552
00:28:29,080 --> 00:28:31,560
WOMAN: I'm trying to make them
have sex, actually.
553
00:28:31,560 --> 00:28:32,680
The two women?
554
00:28:32,680 --> 00:28:35,360
How do get consent with collage?
It's a toughie.
555
00:28:35,360 --> 00:28:38,600
Yeah, it's a... There's so many
things that are tough about collage.
556
00:28:39,600 --> 00:28:42,480
MAN: My view is not to kind of
keep the male body,
557
00:28:42,480 --> 00:28:45,680
like, legislated
and sacrosanct and private,
558
00:28:45,680 --> 00:28:47,680
but to be able to thrust it
into public space,
559
00:28:47,680 --> 00:28:49,840
to kind of get
those discussions happening.
560
00:28:49,840 --> 00:28:53,160
So, I'd like to leave you with
a more open-ended invitation
561
00:28:53,160 --> 00:28:54,520
to be curious.
562
00:28:54,520 --> 00:28:56,640
Be like some of the artists
we've met.
563
00:28:56,640 --> 00:28:58,080
Don't be passive.
564
00:28:58,080 --> 00:28:59,920
Challenge the status quo.
565
00:28:59,920 --> 00:29:01,680
Ask questions.
566
00:29:01,680 --> 00:29:03,360
Don't take it lying down.
567
00:29:03,360 --> 00:29:06,440
Don't throw the ladies out
with the bathwater.
568
00:29:06,440 --> 00:29:07,920
I'll stop now.
569
00:29:09,560 --> 00:29:10,960
You're welcome.
570
00:29:35,200 --> 00:29:38,120
Captions by Red Bee Media
571
00:29:38,120 --> 00:29:41,040
Copyright Australian Broadcasting
Corporation
44365
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