Tag Archives: modern art

Why Body Painting? — 4: Radical Act — The essential celebration of our humanity / the ultimate modern art

by Christopher Agostino. 11/29/2011

Traditional Significance: in cultures with profound traditions of bodypainting it is a celebration of the beauty of the human form. Among the Southeast Nuba the most elaborate painting is reserved for the young men in their prime health and youthful vigor. In the highlands of Papua New Guinea the brightly colored body-decoration presents a heightened self-image, an idealized form beyond the individuals’s daily persona.

Primal Transformation: anthropologists now point to the use of symbols and the beginnings of art as the igniting evolutionary spark of modern humanity, the defining impetus of the final great leap from animal to human— we are the symbolic species. And, as likely as not, that first act of art was to paint ourselves.

Radical Theory: to paint a body today is a profound expression of that which makes us human, transcending the boundary of our physical, animal form through the act of making ourselves into art, into the essential celebration of our consciousness — reaching back to our origins through the most traditional of all art forms while startling the modern viewer with the acknowledgement of our naked identity as human animals.

Traditional celebratory bodypainting from Papua New Guinea

Why does a painted, naked body evoke such a response? How can the most ancient of art forms be so surprising today?

I venture to say that a painted, naked body would be more disturbing in effect on an unsuspecting viewer than a body merely naked. A naked body is more readily comprehensible and our reaction more easily determined, or perhaps pre-determined, depending on the brand of morality we bring to the occasion. A fully painted body is less easily definable. It is both naked and clothed, both primitive and civilized—evoking the quality of “disturbing strangeness” as described by Freud, an uncomfortable reaction to “the return of what we have driven back” as we moved from tribal to modern culture. As relayed by Michel Thévoz, Freud was talking about why a member of modern society reacts so strongly, so negatively, to the painted faces of “primitive” people. I think there is an additional element of confusion, an additional uncertainty in how to react, when that unsuspecting modern viewer is confronted by a live example of full fine art bodypainting, because in addition to an apparent return to the primitive (a naked painted body) there is also the apparent elevation to higher culture (as that body has become art).

To continue in an overreaching, radical vein, I can make the argument that bodypainting is today an art form which is capable of fulfilling the quest of the artists 100 years ago who threw out the academic conventions to create “Modern Art” in order to re-establish the ability of visual art to challenge society, compel emotional response and shock the viewer into paying attention—in order to return art to it’s original function, the function art has in primitive cultures, of defining our humanity and raising individual and social consciousness.

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So to bring this back to the question “why body painting?”, as in “why do I paint bodies?” The simple answer is because its effective. To think that bodypainting presented in a modern context is capable of functioning in the same revolutionary way as the radical art of the early modern artists is not to say that I paint bodies in order to be the next Picasso. I do however find that artistic bodypainting (and facepainting, for that matter) have an effect on consciousness in a local, immediate sense both for the person you paint and for the people that see them. When you paint someone at an event, it injects a quality of magic, of mystery, into our modern civilized lives. In returning a glimpse of the primitive, it allows for questions about human identity and the permanence of form, and in that way it touches upon the original, transformative power of art.

the real thing

the student work

Learn more at my Body Painting Page https://thestorybehindthefaces.com/body-painting/

And read the related post:

is a painted body naked?  https://thestorybehindthefaces.com/2011/04/15/is-a-painted-body-naked/

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Why Body Painting? — 1A: Collaboration — Meeting Colleagues like Carolyn Roper

Carolyn Roper is a world-class bodypainter and makeup artist. Check out her work in a TV commercial for the Irish National Lottery.
Check out her website for galleries of amazing bodies and a new video of her re-creating the Mystique makeup from X-Men for a movie promotion in the UK. http://www.getmadeup.com/
Meeting, taking classes with, and working beside an artist like Carolyn is the type of “formative experience” I was speaking of in the previous post that helps explain why I bodypaint. Her fantastic work, her professionalism and the career she has carved out for herself are an inspiration.
Carolyn also did me a very nice favor when the Kryolan company brought me to Seeboden, Austria to demonstrate for them at the 2009 World Body Painting Festival. She introduced me to two artists whose work I had long admired, Craig Tracy and Filippo Ioco, who were there as judges for the competition. Filippo’s iconic photographs placing painted bodies in scenic environments were some of the first bodyart images I saw that were undeniably within the canon of “fine art”.  http://iocobodyart.com  Craig Tracy has probably done more to elevate bodypainting as an art form in the U.S. than anyone else, including opening the first art gallery solely devoted to bodypainting http://www.craigtracy.com/ — and he is very encouraging to those of us looking to elevate our own work. The encouragement gained through interactions with other bodypainters is invaluable when you are working in an art form seen as strange or “fringe”, or maybe “emerging” (on a good day). In the U.S., where bodypainting is only now starting to enter more widely into mainstream advertising, commercial promotions and corporate events, it has been especially helpful to see and learn from people like Craig and Filippo, and the body artists from Europe like Carolyn, who have achieved a level of professional success as specialists within the larger fields of makeup artist and fine artist.
Having previously won the World Championship in the “Brush and Sponge” division in 2007, Carolyn Roper became the first artist to win a championship in two different categories when she won in the Special Effects division at that 2009 festival— and I was very happy to be there to see my friend win.
The most fun thing I have ever done in this unusual business was when I got to paint onstage alongside Carolyn and another colleague, Emma — but I’ll leave that to the next post.

Caroyln, with the assistance of Paula Southern, preparing her award winning Special Effects design. She creates her unique sculptural additions by hand

Her model, Barry Bloomfield, presenting the completed design in competition

The completed model on stage.

My favorite photo from the event, seeing Carolyn smile, standing with Paula on the side of the stage, as she watches Barry present her fantastic work of art

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Halloween Groove – Face Painting at Materials for the Arts, NYC

Our goal is to surprise and delight the people we paint and the people who see the people we paint. To that end we work to keep facepainting an adventure, and because people like to be part of an adventure it puts them in the frame of mind to give us the freedom we need to be as creative as we want to be. After I posted the previous video (“Faces at Play”), a facepainter contacted me to ask if we paint faces like that at regular parties or if I only paint like that for my storytelling shows. The basic answer is “yes”, we paint like this all the time, from small parties to public events. I thought I’d post this current example of the full run of faces at one event as an example of the process. Here is just about every face I painted, in the order painted, at one of my favorite Halloween events — the annual Masked Marvelous Cocktail Party at Materials for the Arts, NYC. http://www.mfta.org/
For me, facepainting is a collective, kinetic art. More important than any one face I paint is the collective effect of all the faces I paint at an event. As important to me as the way a person I paint feels when they look into the mirror is the way they feel as they walk around the event and see how everyone responds to their new identity. This is the reason why the artist should take the creative control in the process of painting someone’s face, choosing the design to paint and surprising them rather than asking them what they want to be, or painting them to match a photo of a previous face design — to give the participants the experience of a real transformation. Their suspension of control, their giving in to an artist’s creativity, moves them further beyond themselves into this sense of adventure, this experience of having a new, surprising identity at the event, in much the same way as the traditional use of mask arts allows a performer to assume a supernatural identity in world theater and ritual (or in our modern special effects movies). My hope is to see the people I paint “inhabiting” the mask, bringing their new face/new identity to life, showing off, performing.
At the MFTA event a woman asked me how I decide what to paint on each person. Much of the process is intuitive, matching colors to their eyes and clothes, working towards the shape of their face, how their hair looks, etc., and I interact with each person, asking them a question or two such as “do you want to be nice or spooky?” As I explained to the woman, though, much of my process is like any artist working on a canvas in their studio: what do I want to work on, what are my current thrills and challenges, what can I paint that people will respond to, and even — just like a “real” artist — what am I trying to say with this painting. In the faces from this event, you can see some examples of what we call “classics”  (face designs we know work, like the “Night Queen” and “Moon and Stars”, or something that I know a little girl will like such as the “Zebra Nose”) in combination with explorations of my current creative challenges, the things I have been working on (such as the use of fineart images as source material, like the Picasso and Matisse faces; the continuing effort we are all putting in to adding more figurative imagery, like “Swan Lake” and “Devil Eyes”; and my current attempts to “mash-up” these avenues of exploration into new Halloween designs like the “Zombie Attack” and “Picasso Zombie”).  And from face to face I concentrate on creating diversity in style and concept so the faces are a surprise in the progression of designs, as well as individually.
Materials for the Arts is one of the more remarkable organizations we have ever had the privilege of working for. They are a vital part of the arts and arts education communities of New York City, and just one of the venues that makes it so exciting to do what I do in a place so full of creative energy and artistic freedom as New York. Please check out their website: http://www.mfta.org/

From their web site:

Founded in 1978, Materials for the Arts, NYC Department of Cultural Affairs, provides thousands of NYC’s arts and cultural organizations, public schools, and community arts programs with the supplies they need to run and expand their programs. MFTA gathers materials from companies and individuals that no longer need them and makes them available, for free, to the artists and educators that do. In the process, hundreds of tons are removed from the waste stream every year and kept out of landfills, which helps sustain our environment, promotes reuse, and reduces waste. MFTA helps artists realize their visions, provides students with a richer educational experience and furnishes businesses and individuals with a simple and efficient way to enhance the cultural life of their city.

              

http://www.agostinoarts.com