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Many contemporary Chinese women artists have employed the use of female bodies as the subject of their artworks. From the ancient and imperial period of China until early the 19th century, women's body images in Chinese art were predominantly portrayed through male artists' lenses. As a result, female bodies were often misrepresented.
At this time, the introduction of nude models into the teaching of human body painting in Chinese art academies was less than ten years old, and the public was still controversial about human body painting. Models at the Central Academy of Fine Arts suspended classes to protest the school's breach of its promise to keep them confidential. [3]
The intersection of their identities, as Nelson asserts, creates a "doubly fetishized black female body". Women of color are not represented to the degree that white women are in nude art from the Renaissance to the 1990s, and when they are represented it is in a different way than white women.
Abramović's art also represents the objectification of the female body, as she remains passive and allows spectators to do as they please to her; the audience pushes the limits of what might be considered acceptable. By presenting her body as an object, she explores the limits of danger and exhaustion a human can endure. [4]
Saville's art focuses on women's bodies as the predominant subject matter, [29] and is a far cry away from other works of the female form, which have traditionally objectified women. [24] She is more interested in the raw and unaltered female form, [ 24 ] and the valuable reactions of disgust which are generated when viewing her pieces. [ 30 ]
Classical art [Note 2] is the art developed in ancient Greece and Rome, whose scientific, material and aesthetic advances contributed to the history of art a style based on nature and the human being, where harmony and balance, the rationality of forms and volumes, and a sense of imitation ("mimesis") of nature prevailed, laying the foundations ...