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Can there be more than one reality at a time, and can we experience them both? These were the questions that led photographer and former psychology professor Allan I. Teger to create this collection of black and white Bodyscapes(R). At first glance, Bodyscapes appear to be landscapes; a second look shows that they are in fact nude bodies with small toys and miniatures set on them. Spanning a 35-year period, this collection shows more than 110 black and white images photographed in a single exposure without any post processing or manipulation. The body becomes the setting for golfing, skiing, mountain climbing, surfing, and other sports. Other images feature landscapes ranging from rolling farmlands to beaches and outer space. They are fun, beautiful, and sensual, but always in good taste. This elegant portfolio of Teger's images is an ideal, reality-bending addition to any art photography library.
"What beautifies the desert is that it hides a well somewhere," says Antoine de Saint-Exupéry's Little Prince. As one of the most fertile symbols in the writings of almost every tradition, the desert is often seen as the place of our origins, the place of our gods or demons. We go to the desert to seek visions, to commune with nature in its purest, wildest form and to find artistic inspiration. The photography of Jean Paul Bourdier captures beautifully the ethos of "finding more than we seek". His images of people situated inside a desert landscape shimmers like heat escaping from pavement on a hot afternoon. Bourdier aligns the body with the landscape, and renders the landscape onto the body of his subjects. His unique vision is never digitally altered and the camera captures the artist's exact vision. Bourdier's work is a reflection of his varied interests, as he is a Professor of architecture, photography, design, and visual studies at the University of California, Berkeley. An introductory essay by noted avant garde filmmaker (and Bourdier's wife and model) Trinh T. Minh-ha places his work in a grand tradition of the sensual and the extrasensory, and a scattering of Bourdier's poems add yet another level of aesthetic appreciation.
Western art has long sought to visualize the perfect body. Whether composed from fragments or derived from a single model, this ideal, straight, white body is now in crisis. But what will take its place? In Bodyscape, Nicholas Mirzoeff traces the roots of our current obsession with body images from revolutionary France to contemporary New York. He argues that the representation of the body has always shaped, and been shaped by, crises of political and cultural identity. Mirzoeff's illuminating study engages with artists' work in painting, sculpture, photography and film, showing the centrality of the body in the work of artists ranging from Leonardo, Manet and Poussin, to photographers Julia Margaret Cameron and Paul Strand, to Cindy Sherman, Kiki Smith and Nancy Spero.
This book provides you with all the tips, tricks, instruction and inspiration you need to shoot awesome low-key bodyscapes. Versatile low-key lighting setups Many examples for well-tested poses Reliable camera settings Effective postproduction for low-key Working skillfully with models and clients How to come up with creative image variations Shooting both, black & white and color Creative color gels that look perfect on skin Michael's favorite gear for low-key bodyscapes
We are re-defining the face of ageing on a daily basis, with the Baby Boom generation in the vanguard, followed by younger generations who are similarly intrigued by non-invasive natural solutions that are integrative rather than purely cosmetic. Constitutional Facial Acupuncture has begun to make an impact on popular culture and outmoded perceptions about the nature of authentic beauty and the ageing process. Acupuncturists who practice in this field are increasingly expected to have specialized training and knowledge, outside the customary parameters of the more traditional approaches. This book introduces a complete Constitutional Facial Acupuncture protocol that is comprehensive, effective and clearly organized, with illustrative color photographs and facial needling diagrams. Its strong constitutional components are unique, adhere to the principles of Chinese medicine, and are rooted in the three levels of treatment – Jing, Ying and Wei. - A new and detailed Constitutional Facial Acupuncture protocol highlights acu-muscle points, Shen imbalances, lines and wrinkles, needling technique, relevant points and their locations. - A comprehensive constitutional treatment approach - A customized, modular topical herbal protocol that is enriched with the use of essential oils and natural cleansers, creams, etc. - Practical step-by-step instructions on how to integrate the needling protocols with the topical herbs, jade rollers, gem eye discs, etc. - A complete Constitutional Facial Acupuncture needling protocol for 12 problematic areas of the facial landscape, i.e., droopy eyelids, sagging neck, crow's feet, sunken cheeks, etc. - Contraindications, benefits, and personal advice drawn from the author's 30+ years of experience - An essential text for students or practitioners of facial acupuncture, and also for those readers who are interested in the field of "healthy aging"
Race does not exist in animation—it must instead be constructed and ascribed. Yet, over the past few years, there has been growing discourse on the intersection of these two subjects within both academic and popular circles. In Race and the Animated Bodyscape: Constructing and Ascribing a Racialized Asian Identity in "Avatar" and "Korra," author Francis M. Agnoli introduces and illustrates the concept of the animated bodyscape, looking specifically at the US television series Avatar: The Last Airbender and its sequel, The Legend of Korra. Rather than consider animated figures as unified wholes, Agnoli views them as complexes of signs, made up of visual, aural, and narrative components that complement, contradict, and otherwise interact with each other in the creation of meaning. Every one of these components matters, as they are each the result of a series of creative decisions made by various personnel across different production processes. This volume (re)constructs production narratives for Avatar and Korra using original and preexisting interviews with cast and crew members as well as behind-the-scenes material. Each chapter addresses how different types of components were generated, tracing their development from preliminary research to final animation. In doing so, this project identifies the interlocking sets of production communities behind the making of animation and thus behind the making of racialized identities. Due to its illusory and constructed nature, animation affords untapped opportunities to approach the topic of race in media, looking beyond the role of the actor and taking into account the various factors and processes behind the production of racialized performances. The analysis of race and animation calls for a holistic approach, one that treats both the visual and the aural as intimately connected. This volume offers a blueprint for how to approach the analysis of race and animation.
Making the case for a new kind of visual history, The Goddess and the Nation charts the pictorial life and career of Bharat Mata, “Mother India,” the Indian nation imagined as mother/goddess, embodiment of national territory, and unifying symbol for the country’s diverse communities. Soon after Mother India’s emergence in the late nineteenth century, artists, both famous and amateur, began to picture her in various media, incorporating the map of India into her visual persona. The images they produced enabled patriotic men and women in a heterogeneous population to collectively visualize India, affectively identify with it, and even become willing to surrender their lives for it. Filled with illustrations, including 100 in color, The Goddess and the Nation draws on visual studies, gender studies, and the history of cartography to offer a rigorous analysis of Mother India’s appearance in painting, print, poster art, and pictures from the late nineteenth century to the present. By exploring the mutual entanglement of the scientifically mapped image of India and a (Hindu) mother/goddess, Sumathi Ramaswamy reveals Mother India as a figure who relies on the British colonial mapped image of her dominion to distinguish her from the other goddesses of India, and to guarantee her novel status as embodiment, sign, and symbol of national territory. Providing an exemplary critique of ideologies of gender and the science of cartography, Ramaswamy demonstrates that images do not merely reflect history; they actively make it. In The Goddess and the Nation, she teaches us about pictorial ways of learning the form of the nation, of how to live with it—and ultimately to die for it.
The author traces the history and theory of visual culture asking how and why visual media have become so central to contemporary everyday life. He explores a wide range of visual forms, including painting, sculpture, photography, television, cinema, virtual reality, and the Internet while addressing the subjects of race, ethnicity, gender, sexuality, the body, and the international media event that followed the death of Princess Diana.
Unpacking assumptions about corseting, Rebecca Gibson supplements narratives of corseted women from the 18th and 19th centuries with her seminal work on corset-related skeletal deformation. An undergarment that provided support and shape for centuries, the corset occupies a familiar but exotic space in modern consciousness, created by two sometimes contradictory narrative arcs: the texts that women wrote regarding their own corseting experiences and the recorded opinions of the medical community during the 19th century. Combining these texts with skeletal age data and rib and vertebrae measurements from remains at St. Bride’s parish London dating from 1700 to 1900, the author discusses corseting in terms of health and longevity, situates corseting as an everyday practice that crossed urban socio-economic boundaries, and attests to the practice as part of normal female life during the time period Gibson’s bioarchaeology of binding is is the first large-scalar, multi-site bioethnography of the corseted woman.