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Jemima Stehli (British, 1961- ) challenges notions of narcissism and critical distance by performing nude for her camera in her studio. In her series Strip (1999), she slowly reveals her naked body to a series of male curators, art dealers, writers and critics, asking them to release her camera's shutter through a cable from time to time. The set is her studio, a place that is often considered a site of narcissistic production, and her body is one that fits the idealized version of a female body promoted by the media. In this respect she is complicit in the promotion of the ideal, but at the same time her narcissistic strategies seem overly deliberate. By using the power of a body stripped bare to agitate and fluster, Stehli denies her subject control of his own image, while simultaneously relinquishing her own control by asking him to decide on the moment of representation. Her exhibitionism creates a complicated web of subject-object relationships, as the man is forced to objectify himself while in the process of projecting his own gaze alternately at the artist and her camera, and hence also at the viewer. Ultimately Stehli undermines the position of the privileged, removed voyeur, and its effects are visceral.
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傑邁瑪 Stehli（英國，1961 - ）的挑戰和關鍵概念自我陶醉的距離為她的表演裸體鏡頭在她的工作室。在她的系列地帶（1999年），她慢慢地發現她赤裸的身體的一系列男性策展人，藝術經紀人，作家和評論家，要求他們釋放她相機的快門，通過一個電纜不時。該集是她的工作室，一個地方，經常被認為是自戀的生產現場，她的身子是一個理想化的版本適合女性身體的一個推廣利用媒體宣傳。在這方面，她是在促進同謀的理想，但同時她自戀的策略似乎過於刻意。通過使用一個機構的權力被剝奪裸鼓動和慌亂，Stehli否認她受到控制他自己的形象，同時放棄了自己的控制，要求他決定目前的代表性。她創建了一個複雜的網絡出風頭的主客關係，因為人是被迫物化自己，而在這個過程中他自己的目光投射輪流在藝術家和她的攝像頭，也因此在觀眾。最終 Stehli破壞位置優越，清除偷窺，其影響是內臟。Source(s): 加油!