How have they engaged in the material I am also interested in?

The majority have actually included themselves in the work. Using themselves as the subject, become more involved with the theme they are trying to explore and convey. I need to perhaps explore this idea instead of standing quite so far away and merely documenting, I should be more involved and hands on.

Helmut Newton

This is Sie Kommen the image that inspired Jemima Stehli's Here They Come.

Brigitte Nielson posing for Vanity Fair, 1987

Jemima Stehli

I'm looking at specific works rather than the artist in general, as i think this is more relevant.

In her Strip series, 1999, Stehli invited prominent figures from the London art world -critics, curators and dealers - to watch her strip naked whilst they kept hold of the camera’s release cable and chose their moment to take the pictures. The resulting photographs show the artist from behind in varying states of undress, with her collaborators sat facing the camera and Stehli, full frontal, with varying expressions of embarrassment, interest or gleefulness.

Stehli often appropriates iconic imagery from works by artists of previous generations and from existing, often cliched, stylistic genres (fashion photography, S&M imagery). Whilst building on a tradition of female artists appropriating a masculine aesthetic.

In After Helmut Newton’s ‘Here They Come’, 1999, Stehli has recreated Helmut Newton’s iconic image Sie Kommen, with herself as the stiletto-ed, naked Amazon striding towards the camera. Newton’s original is so accurately and minutely reproduced, Stehli’s hair and stance resemble almost exactly that of the original model, that on the surface Stehli is as objectified as Newton’s original.

Lynda Benglis

I found these wire pieces quite interesting as I thought they resembled two bodies intertwined in passionate embrace.

The bodies idea probably has nothing to do this it at all but its what I though of when I saw the pieces.

Bodies of Desire

I found an exhibition of works by Williem de Kooning and Chloe Piene called Bodies of Desire: works on paper. read the brochure...

http://www.locksgallery.com/exhibit/2007/bodiesOfDesire/bodiesOfDesire.pdf

Female Sensibility by Lynda Benglis

This actually looks like a horrible kiss. Is it two women??

Elke Krystufek

make yourself happy, a video of Elke Krystufek.

Elke Krystufek

Hers is an unclassifiable work that defies the political and critical establishment (between feminism and subversion), and produces a wide-open and prolix imagery on her own positions as an artist and a woman. A multiplicity of self-portraits oil paintings, charcoal drawings, intimate videos and collages ; she uses her body and face as a medium and mirror.

Replicant Hitler, 2000

Themes include power, availability, communication, body designs and borderline
experiences. Her work deals with social discrimination, sex and violence, but beauty, leisure
time and pop culture are also part of her conceptual set-up.

Silent Scream, 2002

Elke Krystufek provokes a form of sexual gratification by making her body a projection area for pornography, female sexuality and masculine fantasies.

Vito Acconci

Not really much relevant stuff I don't think, I found a picture its hard to make out...

Why don't you come up and see mine sometime? or sex for sale, 1977

Jeff Koons

In 1992, an adamant Koons designated the photographs in his notorious "Made in Heaven" series as "paintings." Consisting of images of Koons and his porn-star wife, Ilona Stahler (aka La Cicciolina), engaged in uninhibited sex, the works were printed with oil ink on canvas, each in an edition of three.

Jeff in the Position of Adam, 1990

The photographs haven't lost their power to shock. There was a frisson even among the predominantly young, laidback Serpentine audience when the painting "Ilona's Asshole" flashed up on multiple video monitors.

Silver Shoes, 1991

Made in Heaven was inspired by Masaccio's The Expulsion - "the guilt and shame on Adam and Eve's faces in the painting. I wanted to make work that showed what it was like to be tranquil and not feel shame about the body. Whatever anybody's history is, it's perfect. It can't be any different. I would tie this to nature."

The Expulsion from the Garden of Eden, Masaccio, 1426-27