RUTH KAPLAN - BATHERS
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09709759181 Rue des Minimes
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RUTH KAPLAN
BATHERS
Published by Damiani, 2017
Book size 25.5 x 31 cm
Pages 112 + 70 illustrations
Hardcover
Language English
'Bathers' explores the social theater of communal bathing, a ritual that is both private and public.
Ruth Kaplan's journey began in the nudist hot springs of California in 1991. By participating in the baths, Kaplan gradually became accepted, and was able to make photographs of her fellow bathers, occupying the dual role of voyeur and participant. From California she then traveled to Eastern Europe, seeking a more traditional form of the practice in the spa towns of the Czech Republic, Slovakia, Poland, Hungary, and Romania. The unique display of individual body types and ages became a component of the work, as did the decaying architecture of the interiors. She then traveled to higher-tech spas in Germany, France, Italy, and Denmark, completing the series in 2002 in Moroccan hamams and Icelandic hot springs.
Hedonism, decadence, sensuality, innocence, and social bonding were some of the underlying themes that emerged, but what drew Kaplan to the baths was the powerful physicality, the way in which people manifested themselves through their bodies, and the psychological presence they evoked. The waters became a backdrop to this exploration. With the migration from analog to digital that took hold during the 1990s, and escalating concerns surrounding individual privacy, these photographs have come to stand as a unique document of a subject difficulty to photograph at the best of times, but nearly impossible to achieve currently without staging them. Along with the bizarre juxtapositions of body and place that sometimes occurred, these images reveal and celebrate the experience of immersion into water—physicality and transcendence.
Ruth Kaplan's journey began in the nudist hot springs of California in 1991. By participating in the baths, Kaplan gradually became accepted, and was able to make photographs of her fellow bathers, occupying the dual role of voyeur and participant. From California she then traveled to Eastern Europe, seeking a more traditional form of the practice in the spa towns of the Czech Republic, Slovakia, Poland, Hungary, and Romania. The unique display of individual body types and ages became a component of the work, as did the decaying architecture of the interiors. She then traveled to higher-tech spas in Germany, France, Italy, and Denmark, completing the series in 2002 in Moroccan hamams and Icelandic hot springs.
Hedonism, decadence, sensuality, innocence, and social bonding were some of the underlying themes that emerged, but what drew Kaplan to the baths was the powerful physicality, the way in which people manifested themselves through their bodies, and the psychological presence they evoked. The waters became a backdrop to this exploration. With the migration from analog to digital that took hold during the 1990s, and escalating concerns surrounding individual privacy, these photographs have come to stand as a unique document of a subject difficulty to photograph at the best of times, but nearly impossible to achieve currently without staging them. Along with the bizarre juxtapositions of body and place that sometimes occurred, these images reveal and celebrate the experience of immersion into water—physicality and transcendence.
Editor's statement
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“Bathers” explores the social theater of communal bathing, a ritual that is both private and public.
Ruth Kaplan’s journey began in California’s nudist hot springs in 1991. Through participating in the baths, Kaplan gradually accepted herself and was able to photograph her bathing companions, occupying the dual role of voyeur and participant. From California, she then traveled to Eastern Europe, seeking out a more traditional form of practice in the spa towns of the Czech Republic, Slovakia, Poland, Hungary, and Romania. The unique presentation of different body types and ages became a component of the work, as did the decaying architecture of the interiors. She then traveled to high-tech spas in Germany, France, Italy, and Denmark, completing the series in 2002 in Moroccan hammams and Icelandic hot springs.
Hedonism, decadence, sensuality, innocence, and social connection were some of the underlying themes that emerged, but what drew Kaplan to the baths was the powerful physicality, the way people manifested themselves through their bodies and the psychological presence they evoked. The waters became the backdrop for this exploration. With the migration from analog to digital that took hold during the 1990s and the growing concerns about individual privacy, these photographs became a unique document of a subject that is difficult to photograph at the best of times, but almost impossible to do today without staging. Along with the bizarre juxtapositions of body and place that sometimes occurred, these images reveal and celebrate the experience of immersion in water—physicality and transcendence.
Ruth Kaplan’s journey began in California’s nudist hot springs in 1991. Through participating in the baths, Kaplan gradually accepted herself and was able to photograph her bathing companions, occupying the dual role of voyeur and participant. From California, she then traveled to Eastern Europe, seeking out a more traditional form of practice in the spa towns of the Czech Republic, Slovakia, Poland, Hungary, and Romania. The unique presentation of different body types and ages became a component of the work, as did the decaying architecture of the interiors. She then traveled to high-tech spas in Germany, France, Italy, and Denmark, completing the series in 2002 in Moroccan hammams and Icelandic hot springs.
Hedonism, decadence, sensuality, innocence, and social connection were some of the underlying themes that emerged, but what drew Kaplan to the baths was the powerful physicality, the way people manifested themselves through their bodies and the psychological presence they evoked. The waters became the backdrop for this exploration. With the migration from analog to digital that took hold during the 1990s and the growing concerns about individual privacy, these photographs became a unique document of a subject that is difficult to photograph at the best of times, but almost impossible to do today without staging. Along with the bizarre juxtapositions of body and place that sometimes occurred, these images reveal and celebrate the experience of immersion in water—physicality and transcendence.
Editor's Writings