DOCSLIB.ORG

Pornographic Art I Shall Term the Problem of Appreciation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Pornographic Art I Shall Term the Problem of Appreciation Matthew Kieran 31 Matthew Kieran PORNOGRAPHIC ART “ ornographic art” is an oxymoron. At best, pornographic repre- Psentations can only be bad art and, at worst, they cannot be art at all. This is the received view.1 But what underwrites such aesthetic contempt? There are three distinct lines of thought typically held to warrant the apparent truism. Purely definitional considerations are often cited as showing that pornography, as a matter of principle, cannot be artistically valuable. The purpose of sexual arousal is some- times adduced as rendering the production of pornographic represen- tations artistically indifferent. It is also suggested, albeit far less often, that though we may appreciate a work both as art and as pornography, we cannot do so at one and the same time, i.e. we cannot appreciate a work as pornographic art. I will show that not only is the received view without warrant but, moreover, there are works which are valuable as pornographic art. I The dismissal of pornographic art by definitional fiat runs as follows. Pornographic representations are characterized as having the sole aim of eliciting sexual arousal. By contrast, although erotic representations might have this aim, they can also have other aims, including artistic ones. Hence, an erotic representation can qualify as art in virtue of its possession of, and possible realization of, artistic intent, but a porno- graphic representation can never be art, or be valuable as such, since by definition such a representation does not possess artistic intent.2 But what reason do we have to grant this characterization? Pornogra- phy essentially involves the explicit representation of sexual behavior Philosophy and Literature, © 2001, 25: 31–45 32 Philosophy and Literature and attributes. Naturally this is insufficient to constitute pornography since anatomical drawings or medical textbooks may be sexually explicit without being pornographic. Pornography as such seeks, via the explicit representation of sexual behavior and attributes, to elicit sexual arousal or desire. How does the pornographic stand in relation to the erotic? The erotic clearly need not involve sexual explicitness. Corregio’s Io, Degas’s portraits of ballet dancers, Robert Mapplethorpe’s flower studies, for example, are devoid of sexual explicitness and yet they successfully solicit sensuous thoughts, feelings and associations which are or may be arousing. The erotic essentially aims at eliciting sexual thoughts, feelings, and associations found to be arousing. Thus there are many things which are erotic but not pornographic—such as a representation of someone suggestively eating strawberries—but things which are pornographic are also erotic. Pornography is a subspecies of the erotic or erotica—it seeks to realize the aim internal to all that is erotic, but via the distinctive means of sexually explicit representation, which many other erotic representations do not utilize. Of course a work whose primary aim, as an erotic representation, is sexual arousal may also have other aims, including artistic ones. An artist may intend to produce a work which is sexually arousing and, moreover, intend to do so in such a way that the artistry deployed conveys a certain view, cognitive-affective state, or attitude regarding what is depicted or the nature of the arousal elicited. This statement is no different in principle from the recognition that Eisenstein can intend and successfully produce a work that aims both to be propa- ganda and artistically valuable. Indeed a work produced solely in order to be sexually arousing, without any artistic intention, may yet artfully suggest an insight, view or attitude towards what is represented. Similarly, we recognize that someone may intentionally produce a religious icon with the sole intent of evoking religious devotion, and yet produce at the same time an icon of artistic worth. Now, in terms of definitional characterization alone, we have no reason to suppose that, as a matter of principle, what is possible with respect to the erotic generally is precluded with respect to a particular subcategory of the erotic—namely the pornographic. What we require is a reason which explains why the pornographic may be inimical to the realization of artistic value. The possibility of pornographic art cannot be ruled out by definitional fiat. Carving out the difference between the pornographic and other forms of the erotic in terms of sole and multiple intent may gain some Matthew Kieran 33 of its force from the kinds of representations adduced as paradigmatic. There are many representations we would consider to be both paradigmatically erotic and of high artistic value—for example, certain works by Klimt, Degas, Gill, Rodin, Canova, Tintoretto, Goya, Ingres, some of Shakespeare’s sonnets, Ovid’s The Art of Seduction, Scheherezade’s Tales of 1001 Arabian Nights, or Buñuel’s Belle de Jour, to name but a few. By contrast, if we think of paradigmatic pornographic representations, from late Victorian flick books to magazines such as Hustler, there seems to be no artistic intent or merit of any kind. Yet, as with many apparently natural contrasts, this approach cannot do the work in sustaining the definitional distinction. It is obviously true that most pornographic representations possess no artistic intent or merit. But the same is true with respect to most representational forms generally. Most pictures in card shops, most novels in run-of-the- mill bookshops and many soap operas and films similarly possess little by way of artistic intent or merit. We do not take this as evidence that visual depiction, novels or films cannot possess artistic intent or merit. Indeed, in particular genres the ratio seems exceedingly high—photo- graphic portraiture, romance, fantasy, or science fiction novels, for example, all seem predominated by formulaic, flat, and artistically uninteresting works. But this does not preclude some such instances from possessing artistic intent or of being of high value as art. Moreover, in certain genres, such as pulp fiction, much of the early work possessed little artistic intent or merit and only as the genre evolved did the first novels and films of artistic interest start to emerge.3 Even were one to grant that there are no pornographic works of artistic interest as yet, it remains an open matter as to whether this is due to the nature and limitations inherent in pornography, or if this is a contingent fact due to certain historical and sociocultural factors. It could be that, since pornography has been held to be deeply immoral, obscene and subject to stringent censorship, those who possess artistic talent are yet to exercise it in relation to pornographic subject matter. We would not really expect spivs looking to make money illicitly from pornography to concern themselves with artistic considerations. This might explain why pornography has not evolved in a manner amenable to artistic considerations, whereas other genres which emerged from the unpromising beginnings of pulp fiction, such as Westerns, adven- ture stories, and detective thrillers, have. Furthermore, it is far from obvious that there are no artistically valuable pornographic representa- tions. In literature, Nicholson Baker’s Vox, Georges Bataille’s Story of the 34 Philosophy and Literature Eye, the Kama Sutra, and, in visual art, some of the later work of Picasso, the Egon Schiele portraits, the work of Hokusai and Utamaro, or certain Kama Sutra illustrations, to name but a few, all seem to conform to the characterization of pornography and yet apparently possess both artistic intent and no little merit. Indeed, the sexual candor of much ancient Greek, Greco-Roman, Roman, and medieval Indian art may suggest that the paucity of art works in Christian influenced civilization which are sexually explicit and which solicit arousal is an anomaly rather than the norm. Now it could be that we are mistaken in thinking such works really are pornographic or possess much by way of artistic intent or merit. But the onus is on someone who would claim that our pre-reflective judgments here are in error. II The definitional move does not stand up to scrutiny. The primary purpose of a representation as pornography does not preclude it from possessing other aims—including artistic ones. But a related thought, which I shall term the problem of purposiveness, is often cited as showing that pornography is inimical to the realization of artistic value. In essence, the sexual explicitness, and the inherently formulaic and fantastical nature of pornography, in the service of arousal, are taken to preclude artistic expressivity and significance.4 The claim has some initial plausibility. The more explicit the detail about the nature, size, and state of physiological arousal of the sexual organs, the greater the emphasis on showing the mechanics of sex, and the more our attention is drawn to signs of sexual attraction and desire, the more leaden, flat, tedious and uninteresting a representation seems to become. For the greater the explicit concentration on the physi- ological, biological, and more generally animalistic aspects of sexual behavior, the fewer the expressive possibilities apparently are. Hence, it is thought, sexual explicitness in the service of arousal cannot convey the states of mind, responses, and attitudes of characters, the nature of their actions (as distinct from behavior) or, thus, any perspective of interest the implied author may have upon what is represented. On this view, a pornographic representation will have formulaic markers for certain states, characters, and situations but these are merely signaled in a minimal short hand manner rather than drawn out in any complex and interesting way—in order to make room for as much sexual explicitness as possible. So one is told that sexual Matthew Kieran 35 antagonism exists, that a character is in a state of desire, suffering or ecstasy, without one’s being imaginatively engaged in any way.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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”).
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Universities of Leeds, Sheffield and York
    promoting access to White Rose research papers Universities of Leeds, Sheffield and York http://eprints.whiterose.ac.uk/ This is an author produced version of a paper published in Philosophy and Literature White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/3355/ Published paper Kieran, M. (2001) Pornographic Art, Philosophy and Literature, Volume 25 (1), 31 - 45. White Rose Research Online [email protected] Matthew Kieran 31 Matthew Kieran PORNOGRAPHIC ART “ ornographic art” is an oxymoron. At best, pornographic repre- Psentations can only be bad art and, at worst, they cannot be art at all. This is the received view.1 But what underwrites such aesthetic contempt? There are three distinct lines of thought typically held to warrant the apparent truism. Purely definitional considerations are often cited as showing that pornography, as a matter of principle, cannot be artistically valuable. The purpose of sexual arousal is some- times adduced as rendering the production of pornographic represen- tations artistically indifferent. It is also suggested, albeit far less often, that though we may appreciate a work both as art and as pornography, we cannot do so at one and the same time, i.e. we cannot appreciate a work as pornographic art. I will show that not only is the received view without warrant but, moreover, there are works which are valuable as pornographic art. I The dismissal of pornographic art by definitional fiat runs as follows. Pornographic representations are characterized as having the sole aim of eliciting sexual arousal. By contrast, although erotic representations might have this aim, they can also have other aims, including artistic ones.
    [Show full text]
  • Lippard, "Eros Presumptive"
    Hudson Review, Inc Eros Presumptive Author(s): Lucy R. Lippard Source: The Hudson Review, Vol. 20, No. 1 (Spring, 1967), pp. 91-99 Published by: Hudson Review, Inc Stable URL: http://www.jstor.org/stable/3849320 Accessed: 16-12-2015 15:03 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Hudson Review, Inc is collaborating with JSTOR to digitize, preserve and extend access to The Hudson Review. http://www.jstor.org This content downloaded from 2.28.189.87 on Wed, 16 Dec 2015 15:03:46 UTC All use subject to JSTOR Terms and Conditions LUCY R. LIPPARD Eros Presumptive Ideally, eroticism in the visual arts is a curious combination of specific and generalized sensation. Universally understood rhythms or symbols become meaningful only to the individual viewer. In this sense, the erotic is always particular, but its very particularities alter depending upon who views them, when, and how. Recognition of obvious erotic subject matter, or any subject matter at all, can be beside the point. The broader the framework within which the erogenous forms or surfaces occur, the greater its appeal to a greater number of people.
    [Show full text]
  • Concepts of Pornography: Aesthetics, Feminism, and Methodology
    Trinity University Digital Commons @ Trinity Philosophy Faculty Research Philosophy Department 2012 Concepts of Pornography: Aesthetics, Feminism, and Methodology Andrew Kania Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/phil_faculty Part of the Philosophy Commons Repository Citation Kania, A. (2012). Concepts of pornography: Aesthetics, feminism, and methodology. In H. Maes & J. Levinson (Eds.), Art and pornography: Philosophical essays (pp. 254-276). Oxford University Press. This Contribution to Book is brought to you for free and open access by the Philosophy Department at Digital Commons @ Trinity. It has been accepted for inclusion in Philosophy Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Concepts of Pornography: Aesthetics, Feminism, and Methodology Andrew Kania [Author’s final manuscript; please cite only the published version: Andrew Kania. “Concepts of Pornography: Aesthetics, Feminism, and Methodology” in Art and Pornography: Philosophical Essays, ed. Hans Maes and Jerrold Levinson. Oxford University Press, 2012. 254-76.] There are two broadly philosophical literatures on pornography. By far the largest is concerned with moral issues raised by pornography. This literature falls into two phases.1 The first phase comprises the debate between moral conservatives, who objected to pornography on the grounds of its explicit sexual nature, and liberals, who defended pornography on grounds of something like freedom of speech or expression. Though this debate is not stone cold, the liberals seem to have won it. However, it has been largely replaced by a different one between feminists who object to pornography on the basis that it contributes to the oppression of women and those who reject these feminist arguments.2 There is also a much smaller literature concerned with aesthetic or artistic issues concerning pornography.
    [Show full text]
  • Erotic Nude Photography - Nude Art - Best Nuder
    Exhibit “FRAUD” - emsneeley nuue are:~reauve-nuue.net- uooge aearcn +mcunisneelev'' nude site:aeative-nude.net - b WEB @&AGES VIDEOS MAPS NEWS MORE bing I curtis neelev si?e:creatim-nude.net -- -- -- -- Size Color * Type Layout - People - Date 'C License Safesearch. Off - - - - - -- - 02014 Ucrosofi I Privacyand Cook~es I Legal I Advedcse I Abwtow ads I He@ I - - --- -- - ouc lvuues NUUII: croucii aexy lvuue woman mouc lvuue waueries I Emttc Nudrs - FinArt Nude Phstography - Adult Erotica - 5er - Nude Warnan - Erotic Nude Photography - Nude Art - Best Nuder I The: Creative Nude Photography Network - Best Erotic Nude Arts Photographie 5. Musik Fire Art Erotic Nudes Nude Erotic Art Photo Fine Art Erotica Photographer Victor Ivanovsky Paurn Photo JP LeFauche Greg Morgan Men & Women Galery Alexander Pauh Fine art natural nudes. KrYpTyK- Photographix Clam Rose Craig Morey 1. R. Taytor Kalvten Loaf Nudes & Portraits Famous Morey Studios Nude High Style Nudes Fotostar Art Nudes Erotcca Link Removed at owner's Ahiion Nudes Peter Ghrt Michael 3. &rkowitz request Fine Art Nude Erotua Galeries Pure Nude Beauty Retro Art Nudes Link Removed at owner's request 'one ivuues nuun monca aexy lvuue woman ~ronclvwe uauales pslot9rpnH for crtfm srwfrs iR $sMc $p@wa& sWi* ~~tv-3:\ ?*I:>%it % Reality Erotka jf Asian Emtica 11 Lesbian Erotica tl OratErotia Amateur Wee Erotica 11 Ebony Black Eros !{Teen Erot'ia BDSM Fetiih SBM EratLa tf latina Fratica tl Matnre Frns li Snfn CL.1Frotia It RttH I nvpr Fmth If Amatr~a+FrntiFa I The Creative Nude Photography Network - Best Erotic Nude Arts Kim Nilsen- Denmark Lorentsen Fotografi Morfe Photo Natur Jaaek Pomykalski I Elegant Erotica FotoStrip Nudes Outside Wlh The Nude FineArtNude Greg Gorman Dreaming InDigital Afex Crane Stan O'Detl World famous and sensational Erotic Digital Art Photo Nude Eros Photography Erotic Nude Art Photography nudes.
    [Show full text]
  • Definition of Pornography, I.E
    1 Who Says Pornography Can’t Be Art? Hans Maes *draft version, not for citation* Many art historians, art critics, and philosophers of art have argued, or sometimes just assumed, that art and pornography are mutually exclusive. I aim to show that this popular view is without adequate support.1 I start by listing the different ways in which the distinction between art and pornography has been drawn in the past. While strong dichotomies of the sort I will discuss may help to illuminate the differences between certain prototypical instances of each, I argue that they do not serve to justify the claim that pornography and art are fundamentally incompatible. Next, I consider those definitions of pornography that make an a priori distinction between pornographic and artistic representations and I explain why such definitions should ultimately be rejected. Finally, after providing a critical assessment of one of the most recent and original arguments in the debate, I conclude by highlighting some of the practical implications of this philosophical discussion. 1. A Black and White Distinction? In the existing literature one finds roughly four ways of marking the difference between artistic and pornographic representations. The line is drawn either on the basis of (1) representational content, (2) moral status, (3) artistic qualities, or (4) prescribed response. (1) Representational content. Pornographic representations are sexually explicit and rich in anatomical detail. Art, by contrast, relies on suggestion and, instead of focusing on certain body parts, will try to capture the individuality, personality, and subjectivity of the represented person. This is one of the most common ways of distinguishing between the two – one that figures prominently in accounts offered by Luc Bovens and Roger Scruton.
    [Show full text]