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Works are often presented in unlikely but enlightening pairings ... With modest design and concise commentary; this is an intelligent, illuminating survey of a topic that has an enduring appeal."– Daily Telegraph Even though you used oils for all of them, your approach, your colors, etc. could all be really different. Could you choose one seascape you LOVE and then make 5-20 more in the same vein? Monument to Unknown Prostheses was produced a decade later. Two figures wear prosthetic arms reminiscent of ‘work-arms’ developed by the rehabilitation industry (there are chilling photographs of men using these while working in armament factories). Both have injuries to the head, pointing to psychological and physical damage, while a third sits with legs awaiting prostheses to be fitted. Unlike Cripples Portfolio, this does not ask for help: it depicts mechanised bodies reconfigured for industrial production. The heroes of this satiric monument are the prostheses, the human cost of war, and the new ready-for-production body. Horn was also interested in mythology, which shows up in Einhorn. The piece may be read several ways. Historian Skye Alexander argues that the "strap on" horn "recalls the unicorn's link to chastity" and the many complex sexualized associations evoked by a woman's naked body in classical art. But the single horn can also be seen a phallic symbol co-opted boldly here by a woman to offer a new model for empowering the female body, which embraces its own sexuality and lays claim to its own sexual power. In either case, Einhorn explores how the body (and particularly the female body) can be both enhanced and restricted by art.

Over 400 artists are featured in chapters that explore identity, beauty, religion, absent body, sex and gender, power, body's limits, abject body and bodies & space. Works range from 11,000 BC hand stencils in Argentine caves to videos and performances by contemporary artists such as Marina Abramovic, Joan Jonas and Bruce Nauman. More than simply a book of representations, this is an original and thought provoking look at the human body across time, cultures and media.

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Countless famous artists investigated many ideas, techniques, and styles over time. Picasso is a great example of this. Look up Picasso cubism versus Picasso blue period and you will see what I mean. While at Colgate University I had to create a body of work to display for my senior thesis. We had to be able to speak about the meaning and message behind the work and answer questions offered by the professors. I had the beginnings of an idea: my family existed well before I was born (my sister is 16 years older than I am, my brother 11). I remember looking through photos and feeling nostalgic and even jealous I wasn’t a part of the family for those memories. In 2008, the Australian artist, Stelarc, began a project in which he grew a genetically-cloned ear on his left arm. This cloned organ will, after continuing surgery, be fitted with a microphone and linked to the internet, so that we will all be able to listen, from our PCs, to what Stelarc is hearing through his 'extra ear'. A big objection I hear from artists who start to share their work is they are afraid of being boxed in… that if they share their art and have “tried on” one idea, that is all they are allowed to do or be known for. Bah. This is completely false. It’s also an excuse that could be keeping you from making art.

Cultural historian Sabine Kampmann argues that EXPORT made a radical choice in making her own skin the substrate for her art: "EXPORT makes an association between human skin, vellum (hide prepared for scripture), and books to legitimize her extraordinary choice of skin as material for her artwork." She was making the statement that writing on her own skin was no different than writing on a piece of paper, albeit with messages whose permanence perhaps carried greater weight.

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It was after I made this commitment to my art and fully investigated my idea that I made a new connection: that I should put myself into the paintings. This would be how viewers understand some of what I am feeling. Body art is generally concerned with issues of gender and personal identity. A major theme is the relationship of body and mind, explored in work consisting of feats of physical endurance designed to test the limits of the body and the ability of the mind to suffer pain. Body art also often highlights the visceral or abject aspects of the body, focusing on bodily substances or the theme of nourishment. Contrasts such as those between clothed and nude, internal and external, parts of the body and the whole are also a common theme. In some work, the body is seen as the vehicle for language. However, by turning this into a public act and then photographing herself with the tattoo in the nude, EXPORT co-opts a symbol of female restriction and transforms it into one of personal empowerment - a badge of liberation. In her own words, "incorporated in a tattoo, the garter belt signifies a former enslavement, is a garment symbolizing repressed sexuality, an attribute of our non-self-determined womanhood. A social ritual that covers up a bodily need is unmasked, our culture's opposition to the body is laid open." Natalia LL. Sztuka i Energia / Art. And Energy, Muzeum Narodowe we Wrocławiu / National Museum in Wrocław, 8 XII 1993 – 27 I 1994, p. 37.

Not only does this make you feel like your work is inadequate, it can feel like personal rejection and even make you consider stopping your art. Ultimately, part of what you must consider is what you want from your art. Some people in this community have a desire for creative play and explore for the pure joy of exploring. If art is a tool for stress relief or is about fun, that is an awesome and important focus that does not need the pressure of a body of art. I currently have one body of work that showcases white women from the 40s training for traditionally male job roles because the men were at war. I'm also now painting a group of women who are tattoo artists today. These works will look nothing alike because my models are very different, but there is still overlap in theme and artistic choices. But they are separate bodies of art. Natalia LL, Teoria głowy / The Theory of the Head [w:] Natalia LL. Teksty Natalii LL. Teksty o Natalii LL, Galeria Bielska BWA, 2004, pp. 121, 375.The body can be seen and represented in so many ways; sometimes young and beautiful, sometimes wrinkled and abject; at certain moments powerful, erotic and sacred even, at other times broken, lifeless, disgusting even. Practice makes progress. This is so important I’ve included this idea in our community pledge, the pledge we all should make to our art. The International Body of Art, an arts company which helps launch the career of underrepresented artists through its public exhibitions programme, launches its proprietary platform ‘Projects’. In this photography series, she presents her own body as both an object for viewing and as the agent of the objectification. Her goal, therefore, is to bring attention to depictions of women in popular culture, thus dismantling stereotypes about femininity and disrupting the pleasures of the male gaze. Art historian Joanna Frueh, for example, sees the Starification Object Series as evidence of Wilke "representing herself as a woman damaged by female embodiment in a culture that subordinates woman to man."