Exploring Sexuality Through Art Making
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Pride and Sexual Friendship: the Battle of the Sexes in Nietzsche's Post-Democratic World
PRIDE AND SEXUAL FRIENDSHIP: THE BATTLE OF THE SEXES IN NIETZSCHE’S POST-DEMOCRATIC WORLD Lisa Fleck Uhlir Yancy, B.A., M.A. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS August 2008 APPROVED: Steven Forde, Major Professor Ken Godwin, Committee Member Richard Ruderman, Committee Member Milan Reban, Committee Member James Meernik, Chair of the Department of Political Science Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Yancy, Lisa Fleck Uhlir, Pride and sexual friendship: The battle of the sexes in Nietzsche’s post-democratic world. Doctor of Philosophy (Political Science), August 2008, 191 pp., bibliography of 227 titles. This dissertation addresses an ignored [partly for its controversial nature] aspect of Nietzschean philosophy: that of the role of modern woman in the creation of a future horizon. Details of the effects of the Enlightenment, Christianity and democracy upon society are discussed, as well as effects on the individual, particularly woman. After this forward look at the changes anticipated by Nietzsche, the traditional roles of woman as the eternal feminine, wife and mother are debated. An argument for the necessity of a continuation of the battle of the sexes, and the struggle among men and women in a context of sexual love and friendship is given. This mutual affirmation must occur through the motivation of pride and not vanity. In conclusion, I argue that one possible avenue for change is a Nietzschean call for a modern revaluation of values by noble woman in conjugation with her warrior scholar to bring about the elevation of mankind. -
Judith Bernstein, Trailblazer in Erotic Art an Interview with the Feminist Visionary About Her Art and Its Current Revival
805 Traction Avenue Los Angeles CA 90013 213.625.1747 www.theboxla.com Judith Bernstein, Trailblazer in Erotic Art An interview with the feminist visionary about her art and its current revival. BY HAZEL CILLS | JAN 20, 2016 (ELENA POLSON AND STEFANIE APPLE) As one of the founders of New York City's A.I.R. Gallery, the first-ever all-female art gallery in the United States, artist Judith Bernstein had a career that seemed to be on the rise in the early 1970s. The Newark-born, Yale-educated artist made bold, erotic large-scale charcoal drawings of phalluses that stood apart from the clean, conceptual minimalist works that populated galleries at the time. But when one of these pieces, a scratchy, mural-size illustration of a screw-shaped phallus titled Horizontal, was censored from the 1974 show "Women's Work" in Philadelphia, Bernstein had trouble getting her graphic art into galleries. 805 Traction Avenue Los Angeles CA 90013 213.625.1747 www.theboxla.com It wasn't until decades later, in 2008, that gallerist Mitchell Algus gave Bernstein a solo show in New York and Paul McCarthy fell in love with her work and exhibited her at his West Coast gallery the Box. Suddenly, Bernstein's long-underrated art was being given positive reviews at contemporary galleries, and from there, her textured penises, anti-war paintings, and vaginal icons made their way into the collections of the Whitney, MoMA, and the Jewish Museum, among others. Today, the art world is just beginning to recognize Bernstein as a trailblazer in erotic art, and her work that was once relegated to storage has a newfound audience. -
Inserting Hans Bellmer's the Doll Into the History of Pornography
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2020 Softcore Surrealism: Inserting Hans Bellmer's The Doll into the History of Pornography Alexandra M. Varga Follow this and additional works at: https://scholarship.claremont.edu/scripps_theses Recommended Citation Varga, Alexandra M., "Softcore Surrealism: Inserting Hans Bellmer's The Doll into the History of Pornography" (2020). Scripps Senior Theses. 1566. https://scholarship.claremont.edu/scripps_theses/1566 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. 1 SOFTCORE SURREALISM: INSERTING HANS BELLMER’S THE DOLL INTO THE HISTORY OF PORNOGRAPHY, 2020 By ALEXANDRA M. VARGA SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR ARTS FIRST READER: PROFESSOR MACNAUGHTON, SCRIPPS COLLEGE SECOND READER: PROFESSOR NAKAUE, SCRIPPS COLLEGE MAY 4TH 2020 2 Contents Acknowledgments. 3 Introduction: Finding The Doll. 4 Critical Reception: Who Has Explored The Doll?. 10 Chapter 1: Construction of the Doll and Creation of the Book. 22 Chapter 2: Publication in Germany and France. 37 Conclusion: Too Real For Comfort. 51 Bibliography. 53 Figures: Die Puppe Sequence, 1934. 56 Figures: La Poupée Sequence, 1936. 64 Figures: 19th and 20th Century Pornography. 71 3 Acknowledgments This thesis could not have been written without the support of my thesis readers, Professors Mary MacNaughton and Melanie Nakaue. I would like to thank them for their unwavering support. Their guidance gave me the confidence to pursue such an eccentric topic. -
The Allure and Magic of Renée Jacobs by Prof
the allure and magic of renée jacobs by Prof. John Wood (From the introduction to PARIS) This is a book about Paris, about passion, into our lives the most essential creative mo- one of women as free spirit—as free as any and about pleasure. …Erotic art, like any ments in the lives of artists, such as Renée man. When I look at Jacobs’ images, I see other visual art, is only good if it pulls us Jacobs, and the lives of her models, as well. something universal: Everywoman—or at back again and again to gaze, to wonder, least the potential of every woman. In her and to consider. Its power is the same as Jacobs, of course, shapes the aesthetic di- work we see the quintessence of style, im- that of great music which demands we lis- mension of her photographs, but part of her ages that could have served as models for ten again and again, no matter how many work’s gift to the viewer is also shaped by that great painter Tamara de Lempicka, times we already have, or great poetry her models’ creative partnership with her. who captured “the woman” like no other whose melodies and metaphors make us Erotic art is clearly the most generous of the painter of the 20th Century. Jacobs pres- read, reread, and then read again. The visual arts. Artist and model jointly agree ents formal elegance, desire, and beauty mark of great art is that it is forever fresh to create and share with others a moment all coupled within the allure of sexual and forever rewarding. -
Eroticism of Space
Oz Volume 30 Article 2 1-1-2008 Eroticism of Space Juhani Pallasmaa Follow this and additional works at: https://newprairiepress.org/oz This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Pallasmaa, Juhani (2008) "Eroticism of Space," Oz: Vol. 30. https://doi.org/10.4148/2378-5853.1451 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Oz by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Eroticism of Space Juhani Pallasmaa of literary and scholarly studies since Hypnerotomachia Poliphili (1499), an illustrated amalgamation of a dream-like love poem and a treatise of the secrets of ancient architec- ture, attributed to the Franciscan friar Francesco Colonna (1433–1527). Hypernerotomachia is a love story disguised as an architectural treatise in which architecture and its elements stand for the desired body of the lover. In fact, the professionalist precision of the architectural descriptions in the book has given rise to speculations that the real writer would be no one less than Leon Battista Alberti. In mid-eighteenth century France the petites maisons, resi- dences secondaires, or gardens and garden pavilions were Little House (La Petite Maison, 1758)1 by Jean-François de Bastide develops the idea of architecture as a deliberately- conceived vehicle for erotic arousal and sexual seduction. and an architectural treatise. Like Little House is assumed to be a collaboration between expert that is suspected to have collaborated with Bastide is Jacques-Francois Blondel, the renowned architectural theoretician. -
Art and Obscenity
STEFAN MORAWSKI Art and Obscenity i no, can obscenity arise in art and, if so, what place does it occupy in the artistic IN EXPLORING the relationship between structure as a whole? These questions are of art and obscenity it is easy to stray into a a structural nature, but to answer them we whole labyrinth of disconnected issues. The must also investigate the genesis and func- problem lends itself to examination from tion of the views which maintain there is a variety of viewpoints: the purely analy- such a thing as pornography, a designa- tic, the purely pragmatic (the moral, tion, be it noted, often applied to objects religious, or political angle, for example), which do not, from the aesthetic point of or a combination of the two when it is view, admit of qualification as obscene. hoped that theoretical inquiry will yield Our first task, then, must be to clarify the guidance for a working strategy. Here I two key concepts used in the title of this have chosen for the path of analysis, but essay, which, according to some, may be even this is far from being clear-cut since complementary and, according to others, there are a number of avenues to choose are mutually exclusive. Obscenity and from: sociology (or, in broader terms, pornography, let me add, are used here as culturology), psychology, ethics, aesthetics. synonymous terms. Though obscenity us- Finally, this field can be observed from a ually is understood in a larger sense, com- wider perspective, not so much scientific prising also description of acts which do in the strict sense as philosophical. -
Karin Bruns All by Myself Technologies of the Self in Porn
Vorträge im Rahmen der Tagung Medienamateure: Wie verändern Laien unsere visuelle Kultur? Internationale und interdisziplinäre Tagung der Universität Siegen Prof. Dr. Susanne Regener, 5.-7. Juni 2008 Alle Rechte liegen bei den Autorinnen und Autoren. Bei Verwendung bitte folgenden Quellennachweis angeben: „Vortrag im Rahmen der Tagung ›Medienamateure. Wie verändern Laien unsere visuelle Kultur?‹“ Universität Siegen 5.-7.6.2008, in: www.medienamateure.de Karin Bruns All by Myself Technologies of the Self in Porn Blogs and Web Forums In the pop song “All by Myself”, the American singer Eartha Kitt describes the pleasure felt in self-withdrawal as well as the dangers it brings.1 Since the song was first released in 1976 by Eric Carmen, it stands as a symbol for the ambivalent feelings arising from being famous, being a star, and loneliness.2 Again and again, Eartha Kitt sung “All by Myself”, adding variations and including passages with a seemingly very personal touch. The last time was in a New York revue theater, shortly before her seventieth birthday in 2008. The confession manifest in the lyrics of this version of the song and the related self-publishing of a star suffering under the pressure of publicity refer to the marginalized position of a female afro-American artist. The 1982 documentary film “All by Myself” (USA/D, director: Christian Blackwood) follows this interpretation. The refrain “I wanna be all by myself” is staged over and over again, and the film, just like at the close of the song, reverses it at the end (“don't wanna be all by myself anymore”). -
Catastrophic Sexualities in Howard Barker's Theatre of Transgression
Catastrophic Sexualities in Howard Barker's Theatre of Transgression Karoline Gritzner Abstract The recent work of contemporary English dramatist and poet Howard Barker offers startling speculations on the theme of erotic sexuality and its interrelationship with death. This paper discusses Barker's "theatre of catastrophe" with reference to theories of eroticism (Bataille), seduction (Baudrillard), and aesthetics (Adorno). In Barker's sexually charged reading of Shakespeare's Hamlet in Gertrude the Cry; his erotic version of the Grimm brothers' fairytale Snow White in Knowledge and A Girl; and in his play for three actors and a corpse, Dead Hands, erotic desire and the sexual encounter are theatrically articulated as the subversive and destructive effects of consciousness. Key Words: theatre, drama, Howard Barker, eroticism, death, sexuality, aesthetics. Moments of profound sexual passion cause us - the couple who love - to implore a death, if only from the anxiety that nothing will ever again surpass the unearthly quality of this ecstasy. Is it not too perfect to be followed, except by its repetition? The dread of its failing to reappear ... the yearning for its reappearance ... perhaps the solitary reason for perpetuating ourselves? I In Howard Barker's plays sexual desire necessarily complicates life; it signifies a tragic encounter with the Other and catapults individuals into an awareness of their own limitations and possibilities. Barker calls his distinctive dramatic project a "theatre of catastrophe" in which characters embark upon ecstatic explorations of unlived life, involving the experience of pain and violation but also a recognition of beauty. In his most recent non-dramatic text Death, The One, and The Art of Theatre - a provocative collection of poetic meditations on the "art of theatre," love and death - Barker contemplates the aesthetic and spiritual quality of tragedy, which considers eroticism and death as its main subjects. -
John Boyle, Greg Curnoe and Joyce Wieland: Erotic Art and English Canadian Nationalism
John Boyle, Greg Curnoe and Joyce Wieland: Erotic Art and English Canadian Nationalism by Matthew Purvis A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2020, Matthew Purvis i Abstract This dissertation concerns the relation between eroticism and nationalism in the work of a set of English Canadian artists in the mid-1960s-70s, namely John Boyle, Greg Curnoe, and Joyce Wieland. It contends that within their bodies of work there are ways of imagining nationalism and eroticism that are often formally or conceptually interrelated, either by strategy or figuration, and at times indistinguishable. This was evident in the content of their work, in the models that they established for interpreting it and present in more and less overt forms in some of the ways of imagining an English Canadian nationalism that surrounded them. The dissertation contextualizes the three artists in the terms of erotic art prevalent in the twentieth century and makes a case for them as part of a uniquely Canadian mode of decadence. Constructing my case largely from the published and unpublished writing of the three subjects and how these played against their reception, I have attempted to elaborate their artistic models and processes, as well as their understandings of eroticism and nationalism, situating them within the discourses on English Canadian nationalism and its potentially morbid prospects. Rather than treating this as a primarily cultural or socio-political issue, it is treated as both an epistemic and formal one. -
The Role of Morality and Physical Attractiveness of Athletes on Disposition Formations Firat Tuzunkan
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 The Role of Morality and Physical Attractiveness of Athletes on Disposition Formations Firat Tuzunkan Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION THE ROLE OF MORALITY AND PHYSICAL ATTRACTIVENESS OF ATHLETES ON DISPOSITION FORMATIONS By FIRAT TUZUNKAN A Dissertation submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2007 The members of the Committee approve the dissertation of Firat Tuzunkan defended on July 20, 2007. ______________________________ Arthur A. Raney Professor Directing Dissertation ______________________________ Charles Hofacker Outside Committee Member ______________________________ Gary Heald Committee Member ______________________________ Laura Arpan Committee Member Approved: ______________________________ Steven McDowell, Chair, Department of Communication ______________________________ John Mayo, Dean, College of Communication The Office of Graduate Studies has verified and approved the above named committee members. ii For my mom and dad, who made all this possible… iii ACKNOWLEDGEMENTS Probably the biggest lesson I learned throughout my PhD career is that big accomplishments cannot be achieved without the help and support of others. Similarly, this dissertation would not have been possible if it was not for the support of many great people around me. First and foremost, I would like to express my deepest gratitude to Dr. Arthur Raney for being such a great professor, mentor, and most importantly a friend throughout the years I have spent at FSU. Every time I came to your office stressed, depressed and lost, I left your office with a smile on my face and full of encouragement. -
Medieval Erotic Art and Its Audiences
“Was It Good For You, Too?” Medieval Erotic Art and Its Audiences Martha Easton One challenge of analyzing visual imagery using language is that the cultural filter of language itself inevitably nuances and reinterprets our initial nonverbal experience: applying words to images, we contextualize them, giving them shape, history, and meaning. Especially when the images in question have sexual content, the words selected to describe them can affect the way they are perceived: the same visual material might be deemed suggestive, titillating, erotic, pornographic, or obscene – and each word choice connotes, and at times perhaps promotes, a world of cultural and even physical response. There is really no word that is completely neutral to describe this imagery – even the word “sexual” itself suggests associations that may or may not be accurate. When I selected my title for this article and for the conference paper from which it was derived, I was deliberately attempting to entice, and yes, titillate, my potential audience. My use of the word “erotic” to describe these images is also deliberate, as I am attempting to avoid what I see as the relativistic moral and judgmental potentialities of words such as ‘obscene’ and ‘pornographic,’ even as I acknowledge that the choice of ‘erotic’ has its own connotations of intentional sexual stimulation. This leads me to my larger point -- when we give meaning to images using words, exactly whose meaning is privileged? And further, when we allow images no words at all, what happens to them? Because of the traditional tendency of historians of medieval art to focus on religious imagery and monuments, secular objects become marginalized and secondary; in the case of the erotic images found in medieval art, they disappear, do not become part of the canon, and become all but eliminated from serious scholarship. -
Hyper-Eroticism As a Source of Spiritual and Material Agency in «Trilogía Sucia De La Habana»
CULTURA, LENGUAJE Y REPRESENTACIÓN / CULTURE, LANGUAGE AND REPRESENTATION ˙ ISSN 1697-7750 · VOL. XIX \ 2018, pp. 85-98 REVISTA DE ESTUDIOS CULTURALES DE LA UNIVERSITAT JAUME I / CULTURAL STUDIES JOURNAL OF UNIVERSITAT JAUME I DOI: HTTP://DX.DOI.ORG/10.6035/CLR.2018.19.5 Hyper-Eroticism as a Source of Spiritual and Material Agency in «Trilogía sucia de La Habana» El hipereroticismo como fuente de agentividad espiritual y material en Trilogía sucia de La Habana LILY MARTÍNEZ EVANGELISTA UNIVERSIDADE DE BRASÍLIA Artículo recibido el / Article received: 2017-10-11 Artículo aceptado el / Article accepted: 2018-03-22 ABSTRACT: In Trilogía sucia de La Habana, Pedro Juan Gutiérrez has defied traditional representations of the sexual body in Latin American literature by depicting eroticism as an agent of meditation and multiplication within an environment of deprivation. The author explores the diverse ways in which eroticism is a means by which to deconstruct subjectivity and provide a political critique against social oppression. The narrative is situated within a socialist Cuban context of surveillance during the Special Period and depicts the many acts of survival its citizens engage in on a daily basis amidst an economic crisis where basic products are scarce. With the absence of material goods, as well as certain political freedoms, the characters in the novel manifest their continuous desires by engaging in a hyper-production of eroticism as a source of power. While recounting personal stories of love and sex, the characters meditate on their social condition in addition to their own private desires. Ultimately, in accord with eroticism as a weapon of social change and critique, Pedro Juan Gutiérrez acknowledges the body traditionally dismissed in dominant Western thought and inscribes new representations where it can be beautiful while being impoverished, artistically tormented and imperfect.