Age Cannot Wither Her (Standard format)

By James Hall and Mischkah Scott

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Book Description

A male artist seeking to make classical images of a female nude today is inviting controversy. He has perhaps respect for the long tradition of the female nude in Western art, as described by Kenneth Clark in his seminal book, The Nude, but must recognise the unpleasant reality that the tradition Clark describes objectifies women. He does not want to add to the current mass proliferation of sexualized photographic images, sometimes self-created. But at the same time he obviously cannot contribute to the unsparing self-examination of the realities of female sexuality and the female body which Frances Borzello describes in her book The Naked Nude. As Borzello says, “The new nudes ask awkward questions and behave provocatively. … In its refusal to edit out the unacceptable, the new nude represents something not seen before in art”.

In seeking to chart a way through this dilemma I sought another way to subvert the premises of the classical tradition. The first of those premises is that as Clark indicated in the subtitle of his book, the classical nude sought to be “A Study in Ideal Form”. It seeks to present an idealised form of the female nude, young and classically proportioned, which establishes a narrow and stereotyped view of the female nude. The second premise is that the classical nude concentrates on the body and its physical form, and not the person who inhabits that body. As Peter Lacey rather coyly describes it in his book The History of the Nude in Photography, “in all fine photographs of the nude, her identity is never the dominant factor of her presence”.

This series of photographs seeks to challenge these premises by creating images which portray a distinct individual, not an anonymised body, and which celebrate the beauty in every female body, rather than seeking out an ideal form. The objective has been to involve a range of sitters who between them represent the diversity of women and to have each sitter actively engage through the camera with the viewer. I wanted to capture the whole person and make each sitter an active participant in creating the image.

The sitters have a wide range of backgrounds and experiences. Some are professional models, some are occasional models for life classes and some had never sat for a nude image before. I would like to thank all of them for their generosity in agreeing to sit, their tolerance for the sitting process and the time they have taken to reflect in writing about presenting themselves to the world in this way. I would also like to congratulate them for the overwhelming sense they have projected of being comfortable in their own skin. And finally I'd like to thank Mischkah Scott whose enthusiasm for this project and support to each of the sitters has been invaluable.