Annie M. Sprinkle, Ph.D. (This Is a Work in Progress, As I
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
By Anne-Sophie Adelys
by Anne-Sophie Adelys © Anne-Sophie Adelys - 2013 - www.adelys.co.nz © Anne-Sophie Adelys - 2013 - www.adelys.co.nz 3 © Anne-Sophie Adelys - 2013 - www.adelys.co.nz © Anne-Sophie Adelys - 2013 - www.adelys.co.nz My name is Anne-Sophie Adelys. I’m French and have been living in New Zealand since 2001. I’m an artist. A painter. Each week I check “The Big idea” website for any open call for artists. On Saturday the 29th of June 2013, I answered an artist call titled: “Artist for a fringe campaign on Porn” posted by the organisation: The Porn Project. This diary documents the process of my work around this project. I’m not a writer and English is not even my first language. Far from a paper, this diary only serves one purpose: documenting my process while working on ‘The Porn Project’. Note: I have asked my friend Becky to proof-read the diary to make sure my ‘FrenchGlish’ is not too distracting for English readers. But her response was “your FrenchGlish is damn cute”. So I assume she has left it as is… © Anne-Sophie Adelys - 2013 - www.adelys.co.nz 4 4 © Anne-Sophie Adelys - 2013 - www.adelys.co.nz The artist call as per The Big Idea post (http://www.thebigidea.co.nz) Artists for a fringe campaign on porn 28 June 2013 Organisation/person name: The Porn Project Work type: Casual Work classification: OTHER Job description: The Porn Project A Fringe Art Campaign Tāmaki Makaurau/Auckland, Aotearoa/New Zealand August, 2013 In 2012, Pornography in the Public Eye was launched by people at the University of Auckland to explore issues in relation to pornography through research, art and community-based action. -
The Work Issue
THEFEMINIST SIRENMAGAZINE OF THE UNIVERSITY OF OREGON THE WORK ISSUE THE SIREN SPRING 2011 EDITor-in-chief JENNIFER BUSBY CONTENT EDITOR LAURA CASTLEMAN VISUAL DESIGN JENNIFER BUSBY KYLIE WRAY ILLUSTRATION MEREDITH BLUME WORDS ANNA BIRD CARLI BARNUM CHARLOTTE BOESEL ELIZABETH EAGAN JULIA WHISENANT KYLIE WRAY MARY SHERMAN NINA NOLEN SOON MI PARK VICTORIA “VIKA” LEQUE PUBLISHER ASUO WOMEN’S CENTER OFFICE EMU SUITE 3 UNIVERSITY OF OREGON EUGENE, OREGON 97402 EMAIL [email protected] PHONE 541.346.4095 FAX 541.346.0620 ONLINE SIRENMAG.TUMBLR.COM WWW.UOREGON.EDU/~WOMEN/ OFFICIAL BUSINESS The Siren is published and produced by the ASUO Women’s Center. We are the only student-led feminist publication on campus. It is our mission to cover contemporary feminist issues and act as an outlet for the creative and intellectual development of women. Our staff consists of an editorial board ofW omen’s Center staff who solicit contributions from volunteer writers and artists. COVER CREDITS FRONT: Workers at Manzanar internment camp in California. Ansel Adams, 1943. Public Doman INSIDE: Alfred Palmer, 1942. Public Domain BACK: William Henry Jackson, 1902. Public Domain Palmer and Jackson images courtesy of Shorpy. THE SIREN SPRING TWENTY11 INSIDE THIS ISSUE CONTRIBUTORS 04 CREDIT WHERE CREDIT IS DUE EDITOR’S LETTER 05 INTERNET, I WISH I KNEW HOW TO QUIT YOU do-it-yOURSELF 06 STICKING IT TO SEXIST ADVERTISING NEAT / HURL 07 STOP WITH THE CHIVALRY ALREADY NEWS//RESPONSE 08 THE REAL STORY BEHIND ROSIE THE RIVETER NEWS//RESPONSE 10 CORRECTIVE RAPE STILL POSES -
Distance and Empathy: Constructing the Spectator of Annie Sprinkle's Post-POST PORN MODERNIST—Still in Search of the Ultimate Sexual Experience
Spring 1993 177 Distance and Empathy: Constructing the Spectator of Annie Sprinkle's Post-POST PORN MODERNIST—Still in Search of the Ultimate Sexual Experience Angelika Czekay Today, after seventeen years in the porn industry, ex-sex worker Annie Sprinkle is a performance artist. In her recent performance piece "Post-Post Porn Modernist Still in Search of the Ultimate Sexual Experience," Sprinkle talks about her life as a former porn star and ex-prostitute. The show's topic is sex, which Sprinkle "understands as her hobby, politics, spiritual experience, expertise, main subject matter . and the key to her great health and happiness" (Program note, Theatre Oobleck, October 1991). The performance is visually graphic: Sprinkle urinates and douches on stages, invites the spectator to look at her cervix, performs a "bosom ballet," and introduces sex toys for the fulfillment of various sexual desires. In a series of loosely linked segments, her narration moves through the different stages in her life and reveals its changes, both in job and attitude. To complement her stories, Sprinkle uses sets of slides; for instance, the "pornstistics" [sic], showing an image of the Empire State Building as a demonstration of the length of all the penises she "sucked," or a diagram that reveals in percentages her reasons for becoming a sex worker. I had the opportunity to see Sprinkle's performance piece on two separate occasions and in two different cultural contexts in 1991, once in Berlin in July and once in Chicago in October. Although the performance had basically remained the same, my reactions were almost directly opposite. -
Is the Otis 2009 Donghia Designer-In-Residence in the Architecture/Landscape/Interiors Department
MEDIA RELEASE Ed Ruscha, Every Building on the Sunset Strip, 1966 FOR IMMEDIATE RELEASE: NOVEMBER, 2013 Press Contact: Kathy MacPherson / [email protected] / (310) 665.6909 Binding Desire: Unfolding Artists Books, an exhibition at Otis College of Art and Design’s Ben Maltz Gallery, displays important works from the Otis Artists Book collection, one of the largest in Southern California. LOS ANGELES, CA – October, 2013 – The Ben Maltz Gallery is proud to announce the upcoming exhibition, Binding Desire: Unfolding Artists Books, on view from January 25 – March 30, 2014. Binding Desire: Unfolding Artists Books is a group exhibition featuring approximately 120 works from OTIS Millard Sheets Library’s Special Collection of 2,100 artists books dating from the 1960s to the present. The Otis Artists’ Book Collection is one of the largest in Southern California. It houses a wide range of works representing every genre of artists books by such luminaries as Vito Acconci, Joseph Beuys, and Ed Ruscha, as well as significant works from major centers of production like Beau Geste Press, Paradise Press, Printed Matter, Red Fox Press, and Woman‘s Studio Workshop. A foundational strength of the collection is its holdings of artists books made in the 1960s and 1970s—a time when this material was often not collected by libraries because so much of it was hard to define, catalog and house. The exhibition also includes a reading room showcasing new work produced by OTIS students in the Fall 2013 semester. Work by: Kim Abeles, Sally Alatalo, Ant Farm, Emily -
Law, Art, and the Killing Jar
Digital Commons @ Touro Law Center Scholarly Works Faculty Scholarship 1993 Law, Art, And The Killing Jar Louise Harmon Touro Law Center, [email protected] Follow this and additional works at: https://digitalcommons.tourolaw.edu/scholarlyworks Part of the Entertainment, Arts, and Sports Law Commons, and the Other Law Commons Recommended Citation 79 Iowa L. Rev. 367 (1993) This Article is brought to you for free and open access by the Faculty Scholarship at Digital Commons @ Touro Law Center. It has been accepted for inclusion in Scholarly Works by an authorized administrator of Digital Commons @ Touro Law Center. For more information, please contact [email protected]. Law, Art, and the Killing Jart Louise Harnon* Most people think of the law as serious business: the business of keeping the peace, protecting property, regulating commerce, allocating risks, and creating families.' The principal movers and shakers of the law work from dawn to dusk, although they often have agents who work at night. 2 Their business is about the outer world and how we treat each other during the day. Sometimes the law worries about our inner life when determining whether a contract was made5 or what might have prompted a murder,4 but usually the emphasis in the law is on our external conduct and how we wheel and deal with each other. The law turns away from the self; it does not engage in the business of introspection or revelation. t©1994 Louise Harmon *Professor of Law, Jacob D. Fuchsberg Law Center, Touro College. Many thanks to Christine Vincent for her excellent research assistance and to Charles B. -
Interview with Helen Meyer Harrison and Newton Harrison
Total Art Journal • Volume 1. No. 1 • Summer 2011 BETH AND ANNIE IN CONVERSATION, PART ONE: Interview with Helen Meyer Harrison and Newton Harrison Helen Meyer Harrison and Newton Harrison, The Lagoon Cycle, 1974-1984. Image Credit: The Harrison Studio Introduction by Elizabeth (Beth) Stephens Helen Meyer Harrison and Newton Harrison are two of the foremost artists practicing in the field of en- vironmental art today. I first met them in 2007 when they moved to Santa Cruz from San Diego where they were emeriti faculty from UC San Diego. In the early ‘70’s, they helped form UCSD’s Art Depart- ment into one of the most powerful centers for conceptual art in the country. They mentored artists such as Martha Rosler and Alan Sekula. Pauline Oliveros, Eleanor and David Antin, Alan Kaprow and Faith Ringgold were colleagues and together they formed a nurturing community for art and teaching. In addi- tion to their primary practice of environmental art, the Harrisons have also participated in a range of other historical and social movements, including the seminal west coast feminist art movement exemplified by works such as the 1972 installation Womanhouse. During that period they interacted with feminist artists and critics such as Arlene Raven, Miriam Shapiro, Judy Chicago and Suzanne Lacy. Even earlier, in 1962, Helen Harrison was the first New York coordinator for Women’s Strike for Peace. Newton Harrison Total Art Journal • Volume 1 No. 1 • Summer 2011 • http://www.totalartjournal.com served on the original board of directors of the Third World College, which Herbert Marcuse and Angela Davis initiated. -
The Ultimate Guide to Anal Sex for Women
The Ultimate Guide to Anal Sex for Women by Tristan Taormino Illustrated by Fish Copyright © 1998 by Tristan Taormino. All rights reserved. Except for brief passages quoted in newspaper, magazine, radio or television reviews, no part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying or recording, or by information storage or retrieval system, without permission in writing from the Publisher. Published in the United States by Cleis Press Inc., PO. Box 14684, San Francisco, California 94114. Printed in the United States. Cover and text design: Karen Huff Logo art: Juana Alicia First Edition. 10 9 8 7 6 Illustrations copyright © 1998 by Fish. for Felice, whose heart and soul are in here Acknowledgments There are so many people whom I'd like to thank for their contributions to this project. To Felice Newman and Frederique Delacoste, for their time, devotion, and gracious understanding of an insanely hectic schedule. Special thanks to Felice, to whom this book is dedicated, for going beyond the call—and even farther than that. To Susie Bright, Pat Califia, everyone at Good Vibrations, Nina Hartley, Bert Herrman, Jack Morin, Carol Queen, Anne Semans, and Cathy Winks for their extraordinary, groundbreaking work. To Robert Morgan for unbelievable generosity and kindness. To Tammy Fortin at Aardvark Books, The New York Public Library Amazon.com, the Society for Human Sexuality, and San Francisco Sex Information for research assistance. To Nancy Bereano of Firebrand Books, Joan Nestle, Greg Constante of Alyson Publications, Pat Califia, and Sarah Miller for permission to reprint their work. -
Feminist Perspectives on Curating
Feminist perspectives on curating Book or Report Section Published Version Richter, D. (2016) Feminist perspectives on curating. In: Richter, D., Krasny, E. and Perry, L. (eds.) Curating in Feminist Thought. On-Curating, Zurich, pp. 64-76. ISBN 9781532873386 Available at http://centaur.reading.ac.uk/74722/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://www.on-curating.org/issue-29.html#.Wm8P9a5l-Uk Publisher: On-Curating All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online ONN CURATING.org Issue 29 / May 2016 Notes on Curating, freely distributed, non-commercial Curating in Feminist Thought WWithith CContributionsontributions bbyy NNanneanne BBuurmanuurman LLauraaura CastagniniCastagnini SSusanneusanne ClausenClausen LLinaina DzuverovicDzuverovic VVictoriaictoria HorneHorne AAmeliamelia JJonesones EElkelke KKrasnyrasny KKirstenirsten LLloydloyd MMichaelaichaela MMeliánelián GGabrielleabrielle MMoseroser HHeikeeike MMunderunder LLaraara PPerryerry HHelenaelena RReckitteckitt MMauraaura RReillyeilly IIrenerene RevellRevell JJennyenny RichardsRichards DDorotheeorothee RichterRichter HHilaryilary RRobinsonobinson SStellatella RRolligollig JJulianeuliane SaupeSaupe SSigridigrid SSchadechade CCatherineatherine SSpencerpencer Szuper Gallery, I will survive, film still, single-channel video, 7:55 min. Contents 02 82 Editorial It’s Time for Action! Elke Krasny, Lara Perry, Dorothee Richter Heike Munder 05 91 Feminist Subjects versus Feminist Effects: Public Service Announcement: The Curating of Feminist Art On the Viewer’s Rolein Curatorial Production (or is it the Feminist Curating of Art?) Lara Perry Amelia Jones 96 22 Curatorial Materialism. -
Wgst 250: Women's Health Activism
Wgst 250: Women’s Health Activism Spring 2011 - T, Th 10:10-12:00pm – Leighton 330, Carleton College Instructor: Dr. Meera Sehgal Office Hours: Tuesday & Thursday: 5-6pm; Office: 222 Leighton Monday & Friday: 1:30-3:00pm & by appointment Phone: x4975 Description This course focuses on women’s health movements and feminist activism around reproductive justice in the U.S.. Our explorations will be linked to a Carleton art gallery exhibit titled EveryBody! that highlights the use of graphic teaching aids, polemical publications and artistic projects by women’s health movements to teach women to celebrate “embodied self-knowledge”. Thus, we'll be looking at, reflecting, practicing (to the extent possible) and reading about feminist political art in general and specifically in relation to women's health in the context of the 70s to the present. Our intellectual focus will be on the role of feminist activism in shifting the discourse around women’s health from medicalized pathology to empowerment. The course has a major civic engagement component that requires students to work with feminist non-profit organizations on campus or in and around Northfield or in the greater Twin Cities area in ways that: Ø contribute to the organization’s vision for social justice; Ø deepens your intellectual understanding of feminist health activism from 2000 to present; Ø enables you to situate the organization and its goals, mission, activities, style of functioning within the wider historical sweep of feminist health movements from the 1960s onwards. In line with the emphasis on visuality in the EveryBody art exhibit, students will be encouraged to develop creative visual approaches to feminist health education in the community through the non-profit they work with. -
Sexual Liberation and Feminist Discourse in 1960S Playboy and Cosmopolitan
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 2011 Sexually Explicit, Socially Empowered: Sexual Liberation and Feminist Discourse in 1960s Playboy and Cosmopolitan Lina Salete Chaves University of South Florida, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the American Studies Commons, Feminist, Gender, and Sexuality Studies Commons, and the Sociology Commons Scholar Commons Citation Chaves, Lina Salete, "Sexually Explicit, Socially Empowered: Sexual Liberation and Feminist Discourse in 1960s Playboy and Cosmopolitan" (2011). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/3041 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Sexually Explicit, Socially Empowered: Sexual Liberation and Feminist Discourse in 1960s Playboy and Cosmopolitan by Lina Salete Chaves A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of Humanities and Cultural Studies College of Arts and Sciences University of South Florida Major Professor: Daniel M. Belgrad Ph.D. Robert E. Snyder Ph.D. Laurel Graham Ph.D. Date of Approval: September 22, 2011 Keywords: individualism, consumerism, careerism, sexuality, feminism Copyright © 2011, Lina Salete Chaves Table -
A Liberal Anti-Porn Feminism? Alex Davies Forthcoming in Social Theory and Practice
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by PhilPapers A liberal anti-porn feminism? Alex Davies Forthcoming in Social Theory and Practice ...the glorification of settling for the best inequality has to offer or has stimulated the resourceful to invent, are what Ti-Grace Atkinson meant to reject when she said, "I do not know any feminist worthy of that name who, if forced to choose between freedom and sex, would choose sex. She'd choose freedom every time."1 In her essay “Why I'm Against S/M Liberation” (in Against Sadomasochism), Ti Grace Atkinson says, “I do not know any feminist worthy of that name who, if forced to choose between freedom and sex, would choose sex.” While women are forced to make such a choice we cannot consider ourselves free.2 1 – The prospect of a liberal anti-porn feminism Catharine MacKinnon has presented two defences of several anti-pornography civil rights ordinances, which classify the trafficking (i.e. the production, sale, exhibition or distribution) of pornography as a form of discrimination on the basis of sex.3 First, she justifies the ordinances by drawing attention to the role pornography purportedly plays in the subordination of women to men. Pornography sexualizes gender inequality and thereby helps to sustain gender inequality by making it attractive and constitutive of sex. Pornography should not be trafficked if we want an end to gender inequality. Second, MacKinnon presents what was originally a pre-emptive defence of the ordinances against the predictable challenge that, in restricting the trafficking of pornography, the ordinances violate the free speech rights of pornographers. -
1458697499761.Pdf
THE ETHICAL A PRACTICAL GUIDE TO POLYAMORY, OPEN RELATIONSHIPS & OTHER ADVENTURES 2ND EDITION UPDATED & EXPANDED DOSSIE EASTON AND JANET W. HARDY CELESTIAL ARTS Berkeley Copyright © 1997, 2009 by Dossie Easton and Janet W. Hardy All rights reserved. Published in the United States by Celestial Arts, an imprint of the Crown Publishing Group, a division of Random House, Inc., New York. www.crownpublishing.com www.tenspeed.com Celestial Arts and the Celestial Arts colophon are registered trademarks of Random House, Inc. Previous edition published as The Ethical Slut: A Guide to Infinite Sexual Possibilities, by Dossie Easton and Catherine A. Liszt (Greenery Press, 1997). LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Easton, Dossie. The ethical slut: a practical guide to polyamory, open relationships, and other adventures. - 2nd ed., updated & expanded I Dossie Easton and Janet W. Hardy. p. cm. Includes index. Summary: "A practical guide to practicing polyamory and open relationships in ways that are ethically and emotionally sustainable"-Provided by publisher. 1. Non-monogamous relationships-United States. 2. Free love-United States. 3. Sexual ethics-United States. 4. Sex-United States. I. Hardy, Janet W. II. Title. HQ980.5.U5E27 2009 306.84'230973-dc22 2008043651 ISBN 9781587613371 Printed in the United States of America Cover design by The Book Designers Interior design by Chris Hall, Ampersand Visual Communications 11 109876543 Second Edition Contents Acknowledgments vii PART ONE WELCOME 1. Who Is an Ethical Slut? 3 2. Myths and Realities 9 3. Our Beliefs 20 4. Slut Styles 27 5. Battling Sex Negativity 4I 6. Infinite Possibilities 46 PART TWO THE PRACTICE OF SLUTHOOD 7.