{"id":43826,"date":"2017-06-01T16:36:53","date_gmt":"2017-06-01T15:36:53","guid":{"rendered":"http:\/\/centmagazine.co.uk\/?p=43826"},"modified":"2017-06-02T15:31:19","modified_gmt":"2017-06-02T14:31:19","slug":"flowing-the-art-of-the-body-iggy-pop-and-the-nude-artistic-tradition","status":"publish","type":"post","link":"https:\/\/staging.centmagazine.co.uk\/?p=43826","title":{"rendered":"Flowing; the Art of the Body: Iggy Pop and the Nude Artistic Tradition"},"content":{"rendered":"

When we read\u00a0the word “flowing” many things come to mind. A river, a waterfall, or elements that are generally related to water. However, flowing can also be linked to music, like the flowing of a melody that passes through our ears or the fascinating movements of a singer on stage. It can also be linked to the history of art when our eyes move and follow the swirling and elegant lines of a painting or a drawing. There is a connection between these two fields, and they incredibly intertwine around a particular figure: Iggy Pop.<\/span><\/p>\n

How is one of the icons of rock connected to the academic discipline of the history of art?<\/span><\/p>\n

Two current exhibitions, “Iggy Pop Life Class” and “Michelangelo and Sebastiano,” seem to answer this question. The flowing of Iggy\u2019s body movements and the powerful flowing of the lines and contours of Michelangelo’s and Sebastiano\u2019s drawings represent a recurrent theme in the western tradition: the aesthetic of the body and its art.<\/span><\/p>\n

 <\/p>\n

\"IGGY<\/a><\/p>\n

\"IGGY<\/a><\/p>\n

\u00a0Iggy Pop wearing silver-lane evening gloves on stage at the Whisky, May 1970<\/p>\n

\u00a0from “Iggy and The Stooges: One Night at The Whisky 1970” published by ACC Art Books<\/p>\n

Photographs by Ed Caraeff<\/p>\n

 <\/p>\n

\u201cI use my body as an object of commerce\u201d<\/span><\/p>\n

Iggy Pop<\/span><\/p>\n

 <\/p><\/blockquote>\n

 <\/p>\n

Iggy is one of the icons of rock. \u201cIggy Pop and the Stooges: One Night at the Whisky 1970\u201d \u00a0is a book that is coming out\u00a0this June\u00a0and that is going to show\u00a0the essence of this Rock character. In May 1970, Iggy Pop\u00a0gave some performances at the Whisky, and the photographer Ed Caraeff was there that night. He managed to catch the energy, the powerful and overwhelming madness of Iggy Pop\u2019s spectacles. However, the most recurrent feature of the photographs seems to be one: Iggy with his shirt off.<\/span><\/p>\n

 <\/p>\n

\u201cI saw the Pharaohs with no shirts and I thought, \u2018It just looks so classic. I have a long torso. I could do that.\u2019”<\/span><\/p>\n

Iggy Pop<\/span><\/p>\n

\n<\/blockquote>\n

 <\/p>\n

His work was also based on the importance of the body. \u201cI use my body as an object of commerce, \u201d he said to the artist Jeremy Deller. The idea of showing the torso came to Iggy\u2019s mind when he saw how Pharaohs were depicted. He, in fact, said to Total Chaos<\/em>: \u201cI saw the Pharaohs with no shirts and I thought, \u2018It just looks so classic. I have a long torso. I could do that.\u2019”<\/span><\/p>\n

\u00a0<\/span><\/p>\n

 <\/p>\n

\u201cThat\u2019s what Iggy actually is: an ancient, mythological figure, but in contemporary form”<\/span><\/p>\n

Jeremy Deller<\/span><\/p>\n

\n<\/blockquote>\n

 <\/p>\n

Pharaohs were considered both human and divine by the Egyptians. In other words, he wanted to imbue his character with a sort of demigod appearance. Deller, in fact, describes the icon of rock with the following words: “That\u2019s what Iggy actually is: an ancient, mythological figure, but in contemporary form.\u201d<\/span><\/p>\n

 <\/p>\n

\"Guno<\/a><\/p>\n

Guno Park<\/p>\n

Untitled (Sitting pose)<\/p>\n

from “Iggy Pop Life Class” by Jeremy Deller, 2016<\/p>\n

Brooklyn Museum Collection<\/p>\n

Black ballpoint pen on paper<\/p>\n

15 x 11\u00bc in. (38.1 x 28.6 cm)<\/p>\n

\u00a0\u00a0 Photo: Sarah DeSantis<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

“There are hundreds of thousands of photographs of him, but very few drawings. I thought his body deserves to be looked at differently, to be taken more seriously, in a way that would connect him to art history.”<\/span><\/p>\n

Jeremy Deller<\/span><\/p><\/blockquote>\n

 <\/p>\n

 <\/p>\n

His body, surrounded by this mythological halo, became an appealing object of representation. In February 2016, he posed nude in front of the artists of the New York Academy of Art. Jeremy Deller and the Brooklyn Museum organised\u00a0the exhibition \u201cIggy Pop Life Class\u201d gathering a lot of material from the academy.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Deller about this exhibition says: \u201cThere are hundreds of thousands of photographs of him, but very few drawings. I thought his body deserves to be looked at differently, to be taken more seriously, in a way that would connect him to art history.\u201d<\/span><\/p>\n

 <\/p>\n

The drawings of the New York Academy of Art exposed at the Brooklyn Museum align\u00a0Iggy’s iconic body with the history of art. In some drawings, he is represented like a modern seated Zeus or Jupiter, linking him to the Greco-Roman classical tradition. The sketches represent his nude body and his muscles, recalling the western tradition of the \u201cdisegno\u201d (drawing).<\/span><\/p>\n

 <\/p>\n

\"Taylor<\/a><\/p>\n

Taylor Schultek<\/span><\/p>\n

Untitled (Seated pose)<\/span><\/p>\n

from Iggy Pop Life Class by Jeremy Deller, 2016<\/span><\/p>\n

Brooklyn Museum Collection<\/span><\/p>\n

Graphite pencil with erasing on paper toned with graphite<\/span><\/p>\n

15 1\/16 x 10\u00bd in. (38.3 x 26.7 cm)<\/span><\/p>\n

\u00a0Photo: Sarah DeSantis<\/span><\/p>\n

 <\/p>\n

The art of drawing, during the Renaissance (15th <\/sup>– 16th<\/sup> century), became the principal concern for any artist, especially in Florence. In the workshops, the pupils had to learn how to draw everything, especially the human body. It was the main interest for characters\u00a0such as Leonardo, Michelangelo and Raphael. Michelangelo in particular thought that the human body was the unit of measure of the universe, the principal feature of \u00a0Greco-Roman art and the perfect reflection of the image of God.<\/span><\/p>\n

 <\/p>\n

“What spirit is so empty and blind, that it cannot recognise the fact that the foot is more noble than the shoe, and skin more beautiful that the garment with which it is clothed?”<\/span><\/p>\n

Michelangelo<\/span><\/p><\/blockquote>\n

 <\/p>\n

Michelangelo\u2019s influence made the theme of the \u201cnude\u201d one of the main subjects of western art. His words explain better than anyone else his concern for the human body: “What spirit is so empty and blind, that it cannot recognise the fact that the foot is more noble than the shoe, and skin more beautiful than the garment with which it is clothed?”\u00a0<\/span>In the exhibition \u201cMichelangelo and Sebastiano\u201d there is a wide range of paintings and drawings that elucidate Michelangelo\u2019s artistic view. His art paved the way to the period of the \u201cMannerism,\u201d in which artists such as Sebastiano del Piombo forged\u00a0their art following Michelangelo\u2019s steps. The most evident connection between Michelangelo and Sebastiano is the monumentality of the human form, its stunning anatomical and muscular features. Features that, for instance, are notable in both artists\u2019 drawings of rising saints or of Christ\u2019s muscular and majestic body in the Resurrection.<\/span><\/p>\n

 <\/p>\n

\"Christ<\/a><\/p>\n

Michelangelo Buonarroti<\/p>\n

Christ at the Column<\/em><\/p>\n

1516<\/p>\n

Black chalk and white body colour over stylus indentation on paper<\/p>\n

27.4 \u00d7 14.3 cm<\/p>\n

The British Museum, London<\/p>\n

\u00a9 The Trustees of The British Museum<\/p>\n

\"Study<\/a><\/p>\n

Michelangelo Buonarroti<\/p>\n

Study for Ignudo <\/em>(recto)<\/p>\n

about 1510-1511<\/p>\n

27.2 x 19.2 cm<\/p>\n

\u00a9 Albertina, Vienna<\/p>\n

\"God<\/a><\/p>\n

Sebastiano del Piombo<\/p>\n

God the Father<\/em><\/p>\n

about 1532-3<\/p>\n

Black chalk and white body colour on paper<\/p>\n

30.1 \u00d7 23.7 cm<\/p>\n

Royal Collection Trust \/ \u00a9 Her Majesty Queen Elizabeth II 2017<\/p>\n

 <\/p>\n

 <\/p>\n

Music and Art, Rock and Drawing, \u00a0all elements that flow to our eyes or to our ears and that sometimes, like in this case, get intertwined. To taste all of this, don’t loose the possibility to have a look at the current exhibitions and to buy the coming book about Iggy Pop.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Supplementary information can be found here:<\/span><\/p>\n

 <\/p>\n

“Iggy and the Stooges: One Night at the Whisky 1970” by Ed Caraeff. Published by ACC Art Book<\/a><\/p>\n

 <\/p>\n

\u201cIggy Pop Life Class,\u201d Brooklyn Museum, November 4, 2016 \u2013 June 18, 2017<\/a><\/p>\n

 <\/p>\n

\u201cMichelangelo and Sebastiano,\u201d National Gallery, 15th<\/sup> March \u2013 25th<\/sup> June 2017<\/a><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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