This paper will focus on Yves Klein's Anthropometries series and the artist's representation of the female body as a disabled embodiment. It first examines the depiction of the female body and its associations with the color blue throughout the history of art. Additionally, it discusses the abstraction of the body and the artist's attempt to reduce the female body to its simplest form. As a result, the female body is deprived of identity and signified by sexualized characteristics, such as the breasts. This allows the female body to become hypersexualized and objectified by the artists and the viewer.

Second, This paper will focus on Yves Klein's performances and the dichotomy they convey by juxtapositioning the ideal body (that of the model) and the disabled embodiment (the impression on paper). This dichotomy will be examined using feminist disability studies methodology and explore its implications. The representation of the female body as a disabled embodiment allows Klein to explore his fantasies of violence which he explores through the use of fire and aggressive marks. Klein's use of violence in relation to the body also expresses a misogynistic attitude that seeks to establish dominance over the female form. Additionally, Klein's performances presented the female models nude on pedestals inviting audience members to practice the gaze as a means of also exploring their fantasies and exerting dominance over the female body. Untitled Anthropometry (ANT 8) is unique among the Anthropometries series because it depicts one of the most extreme representations of violence in Klein's oeuvre. Finally, the representation of disabled embodiments is present in many of Klein's oeuvre which speaks to his intentions.