The naked form in art has been an area of artistic fascination for centuries. From the prehistoric rock paintings in Southern African caves to the grandiose depictions of folklore and religious figures in European chapels and museums, the human body in the nude has consistently been a subject of interest in art, particularly the naked female form.
However, the representation of art created by black female artists in museums is at an even lower percentage despite the subjects of influential artworks being black women. This essay will explore how black female artists confront ideas of sexuality, sexual and racial violence through the use of the naked female form as the subject matter. Through the works of Lady Skollie, Alison Saar and Renee Cox, the perception and understanding of black art and black female sexuality are reconstructed.
Emerging from the 1960s onwards, black female artists have begun creating their own space in the art world. Through a traditional subject such as the nude, they have been able to narrate their stories and experiences in a way that transforms their position in art from the Subject to the Narrator, fully in control of their depiction.
The Whitewashing of Andromeda and the Brown Nude in Art
In Greek mythology, Andromeda was a princess like many before her, achingly beautiful, conspicuously silent, and waiting to be rescued. Artist’s depictions of the mythological Andromeda are often of an unclothed, fair beauty with flowing hair, cowering on the edge of a rock.
The whitewashing of Andromeda illustrates the tension between white supremacist beauty standards and art. The key to understanding this tension lies in Andromeda’s nudity. Her beautiful, vulnerable nakedness is how she appears at the climax of the story, and it’s what made Perseus fall instantly in love.
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Humans have always been fascinated with their own nude form. In fine art, the nude figure appears frequently, the nakedness often used as an exploration of beauty, or a celebration of strength. It is typically seen as a classic, respected, traditional subject matter in the canon of art history.
Western art’s exaltation of white femininity has made the nude figure in fine art almost completely synonymous with whiteness. One notable exception is Portrait of a Negress or recently retitled Portrait of a Black Woman, a painting by Marie-Guillemine Benoist. On the other occasions when brown women appear naked in western art history, they’re likely to be shown as slaves or oddities.
With the artistic emphasis on their differences rather than their humanity, the brown nude has been denied any opportunity to be seen as delicate or sensual and historically only been allowed to exist as an unequal other to its white counterpart. They say that the past is prologue.
Because of its detractors, the brown nude in art has never been able to exist as it is: an exploration of the beauty of brown women. Contemporary artists who portray nude brown women with love and dignity are pushing back against a society that decided that brown women, unclothed or otherwise, could not be beautiful. Not only are these artists adding to the narrative, but they are doing it in a way that gives autonomy to the subject. These are not the nudes of the past; they’re complex, bold, and in control.
Contemporary Artists Reclaiming the Narrative
New York-based artist Bianca Nemelc rejects society and all of its negative characterizations of brown women and places her gorgeous brown nudes in a solitary, tropical paradise. The faceless brown women in Bianca’s images are alone and unbothered. Their identities stripped away, her figures are removed from society and devoid of its pressure. In their private moments of paradise, the subjects are indifferent to the viewer.
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Los Angeles-based portrait artist YoYo Lander mimics the color mixing process through collage to create the brown skin of her subjects. Her technique of layering strips of dyed watercolor paper celebrates the variety of colors present in brown skin. Like their layered skin, her subjects are portrayed as nuanced and emotional. The Black women in her work contain multitudes as she captures their moments of humanity.
The brown figures on Somaya Critchlow’s small canvases pose an uncomfortable question: who is sexualizing this body? With their full lips and broad noses, Critchlow’s women are unapologetically brown and neither passive nor subtle. Black skin and red lips have been hallmarks of racist caricatures of Black people for centuries. South African artist Zandile Tshabalala flips that notion on its head and the effect is arresting.
Representation matters and Black figurative painters are on the rise. In the wake of the 2020 protests against racial injustice, the art industry rushed to bring more Black portrait artists (who in turn create work portraying the Black figure) into the mainstream.
The lovingly crafted images of nude Black women created by Somaya Critchlow, YoYo Lander, Bianca Nemelc, and Zandile Tshabalala all exist in contrast to the racist and harmful stereotypes that proliferate through our culture. However, after centuries of damaging imagery, it will take time and effort to course-correct that narrative.
In Not Manet’s Type (1997), photographer Carrie Mae Weems references artists Edouard Manet, Marcel Duchamp, and Pablo Picasso to argue that women of color have been marginalized as objects, models, and muses in the Art History canon. Weems employs herself as both subject and artist to claim that women of color are capable of creating art, thus influencing viewers’ perception of their work.
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I use comparative art historical analysis by gauging the artists that Weems refers to in Not Manet’s Type to argue that white male artists have failed to portray women of color as subjects and creators in their own right. Weems uses herself as the subject in several of her artworks, which critiques the dearth of women of color as subjects and creators.
I use formal analysis to explore how light and space in Not Manet’s Type make a statement on the dehumanization and eroticization of women of color in Art History. I use race and gender analysis to explore Weems’ reference to Manet’s Olympia (1863), which criticizes how the black maid acts as a counterpoint to the Caucasian woman’s sexuality. Similarly, Weems’ reference to Duchamp’s Etant donnés (1966) implies that women are objectified and reduced to their genitalia through a voyeuristic gaze.
The realm of African nude art is a captivating and often misunderstood genre. It offers a unique lens into the rich tapestry of African cultures, aesthetics, and artistic traditions. African nude art, a captivating and often controversial genre, holds profound cultural and historical significance. It is a powerful medium that reflects the diverse artistic traditions and societal norms of various African communities.
One of the key aspects of African nude art is its connection to ritual and spirituality. Many African societies view the human body as a vessel for spiritual energy and a conduit for communicating with the divine. Nude figures in art are often representations of ancestral spirits, deities, or the embodiment of natural forces.
Furthermore, African nude art serves as a visual record of the continent's rich history and cultural diversity. Each region and tribe has its unique artistic style, with distinct approaches to portraying the human form. African nude art is a rich tapestry of artistic techniques and symbolic representations.
Symbolism plays a crucial role in African nude art, with various elements carrying deep cultural meanings. For example, the use of scarification or body markings in art represents tribal identity, social status, and spiritual protection. The positioning and size of figures can indicate hierarchical relationships or the importance of a particular deity or ancestor. Additionally, the depiction of the human form itself carries a wealth of symbolism.
💡 Expert insight: The study of African nude art offers a window into the diverse cultural practices and artistic traditions of the continent.
Map of Africa
The Influence of African Nude Art on Global Art Movements
The influence of African nude art extends far beyond its cultural origins, leaving an indelible mark on global art movements and shaping contemporary artistic expressions. One of the most significant impacts of African nude art was its role in shaping the modernist movement.
Artists like Pablo Picasso and Henri Matisse were profoundly influenced by the bold forms, vibrant colors, and expressive qualities of African sculpture and masks. These encounters with African art challenged conventional European artistic norms, leading to the development of new artistic styles such as Cubism and Fauvism.
The influence of African nude art continued to resonate throughout the 20th century, inspiring artists to explore new themes, techniques, and perspectives. The abstract expressionist movement, for instance, drew upon the spiritual and emotional power of African art, emphasizing the artist's inner world and the act of creation.
In contemporary art, African nude art continues to be a source of inspiration and a catalyst for social and political commentary. Artists from Africa and the diaspora draw upon their cultural heritage, using the human form to address issues of identity, colonialism, and social justice. Their works challenge Western narratives, offering alternative perspectives and a platform for marginalized voices.
Appreciating African Nude Art
To fully appreciate African nude art, it is essential to approach it with an open mind and a willingness to learn.
- Contextualize: Understanding the cultural and historical context of the artwork is crucial. Research the artist, the tribe or region the art originates from, and the specific cultural practices and beliefs associated with it.
- Explore Symbolism: African art is rich in symbolism.
- Engage with Art Institutions: Visit museums, galleries, and cultural centers that specialize in African art.
- Study Artistic Techniques: Observe the craftsmanship and technical skills employed by African artists.
- Connect with Contemporary Artists: Follow contemporary African artists who continue the tradition of nude art in their work.
- Embrace Diversity: African art is incredibly diverse, with each region and tribe offering unique artistic expressions.
- Seek Authenticity: Ensure that the artwork you are engaging with is authentic and ethically sourced.
- Join Art Communities: Engage with art communities, both online and offline, to share your appreciation and learn from others.
- Travel and Immerse: If possible, travel to Africa and immerse yourself in the cultural context of the art.
- Educate and Share: Share your knowledge and appreciation of African nude art with others.
African Arts and Symbols- Hidden meanings
African nude art differs from Western art in its approach to nudity. In Western art, nudity is often associated with eroticism or taboo, whereas African nude art embraces the human form as a symbol of life, fertility, and spiritual connection.
Ritual and spirituality play a significant role in African nude art. Many African societies view the human body as a vessel for spiritual energy and a means to connect with ancestral spirits and deities.
African nude art has had a profound impact on global art movements. Its influence can be seen in the modernist movement, abstract expressionism, and surrealism.
African nude art is rich in symbolism. Common symbolic elements include scarification or body markings, which represent tribal identity and social status. The positioning and size of figures can indicate hierarchical relationships or the importance of a particular deity or ancestor.
You can support and promote African nude art by engaging with reputable art institutions, galleries, and artists. Attend exhibitions, participate in educational programs, and share your knowledge and appreciation with others.
The Black Female Body as a Canvas: Three Artists' Perspectives
This section delves into the specific works of three black female artists: Alison Saar, Lady Skollie, and Renee Cox, to illustrate how they utilize the nude female form to address critical socio-political issues.
The Black Female Body and Violence: Strange Fruit - Alison Saar (1996)
Suspended from an empty room in the Baltimore Museum of Art, is a sculpture created in 1995 by the American sculptor, mixed-media and installation artist, Alison Saar. Through this jarring installation, Saar aims to highlight America’s treatment of black women.
The sculpture of tin alloy, wood, dirt and found objects formed into the shape of a voluptuous, naked female form with a bright splash of red-painted lips is hung with a rope from its feet. This positioning resembles a scene from one of the lynchings of black folk in the South post-slavery until 1960 in the United States.
Additionally alluding to that period is the title of the artwork which is the title of a song of the same name written by Abel Metropol and famously sung by Billie Holiday in 1939 as a response to the terror exerted on Black people motivated by racism and white supremacy in the Southern states of the United States. The ‘strange fruit swinging in the Southern breeze’ (Holiday, 1956) is a metaphor for the decaying corpses of predominantly Black men that would hang from trees after being hung by white supremacists.
However, Saar’s rendition of this gruesome murder involves a female victim. With distorted facial features and her hands covering her pubic area and cradling her breast, in a similar manner as Sandro Botticelli’s Venus, Saar’s ‘Venus’ is battered, scarred and turned upside down.
In an interview with Hyperallergic, Saar mentioned that she finds a lot of beauty in discarded objects which is indicative of the story that Strange Fruit tells. Approximately 100 interviews with older Black women were held, where experiences of racially motivated rape were documented.
As lynchings embodied horror for black men, rape is what black women feared most. Documentation of racially motivated rape of black women in public and in jail custody is however not included in the histories of the Civil Rights Movement. Strange Fruit portrays the forgotten and silenced sexual assaults of black women through the naked figure hung at her feet.
Simultaneously, the sculpture expresses healing. Saar’s interest in diasporic art from Africa, the Caribbean, and Latin America is incorporated by the leaf detail on the stomach of the sculpture. The stomach is considered the centre of healing in the Congo which Saar chose to highlight by darkening the shape.
As much as the artwork aims to draw attention to the horrors of rape of black women, it implies the need to heal from past traumas. Alison Saar’s Strange Fruit displays in its battered, charred and inverted form how the black female body has been a ground for racial and sexual violence in the United States of America which requires unpacking and investigation. The sculpture demands the attention of the audience comparable to the attention on the sexual violence experienced by black women which is even in current times ignored in movements such as #MeToo, inefficient policing and the American judiciary system.
The Black Female Body and Sex: Objectify thyself before others do - Lady Skollie (2016)
The association of a naked black women with hypersexuality is a result of the exotification of black women by the West’s gaze which dominates modern views of black women’s bodies. Discussing this theme in art is South African artist, DJ and radio host, Lady Skollie.
The ink on Fabriano paper shows the profile of a woman with large buttocks and breasts with a vaginal pattern in the background. The figure is a reference to the story of Sarah Baartman also known as the Hottentot Venus who was the inspiration of the series by Lady Skollie called Hottentot Skollie.
Information about Baartman’s origins is academically disputed although copious books about her story have been written. Commonly, it is said that Sarah or Saartjie [the Dutch diminutive] Baartman was a Khoi woman born in 1789 near the Gamtoos river, Kouga on the East coast of modern-day South Africa.
Her large buttocks and curvaceous figure gained attention from an English doctor named William Dunlop who convinced her to relocate to England with her employer Hendrik Cesar under the pretense that she would be financially compensated when she signed a contract to become a dancer. Upon arrival, Baartman was paraded as an act in a freak show at the Picadilly circus where onlookers would view her scantily clothed in a cage.
The show gained popularity and attracted the attention of British abolitionists who brought Dunlop and Cezar to trial for slavery. In her testimony which was made under duress, Baartman refuted the claims of mistreatment supported by the contract which Baartman signed.
The riches promised in the initial contract never reached Baartman and in September 1814 she was sold in Paris to Sam Reaux, a French man where she continued to be exhibited alongside animals. She became the subject of a study by French naturalist George Cuvier until her ultimate death in 1816.
Postmortem, a mold of her body continued to be displayed in the Musée del’ Homme alongside her dissected brain and genitals until 1998 when South African president Nelson Mandela requested for French authorities to return her remains to be buried near her birthplace in 2002. Skollie aims to reclaim her sexual experiences as a ‘woman of color’ through not only her artwork but through her provocative discussions about sex.
This reinterpretation of the story of Sarah Baartman deals with the objectification of and limitations imposed on black women’s bodies. Whether it is the obsession with their behinds or the policing of young black girls outside and inside the community where it is commonplace to label them as “fast” or more sexually advanced.
Objectify thyself before others do is a response to Skollie’s experience with hypersexualisation and her depiction of Baartman, holding the cellphone and taking an image of her body herself, has autonomy over her body. The theme of lust is a complex one that Lady Skollie discusses in all her work, but in particular with this artwork which explores how colonization affected black women’s attitudes towards sex and their bodies.
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