“Soft Porn” Plays Hardball
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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. -
Alternative to What? the Rise of Loslyf Magazine Is My Own and That It Has Not Previously, in Its Entirety Or in Part, Been Submitted at Any University for a Degree
ALTERNATIVE TO WHAT? THE RISE OF LOSLYF MAGAZINE Marnell Kirsten Thesis presented in fulfilment of the requirements for the degree of Master of Visual Studies at Stellenbosch University Supervisor: Dr. Stella Viljoen April 2014 Stellenbosch University http://scholar.sun.ac.za I, the undersigned, hereby declare that the work contained in Alternative to what? The rise of Loslyf magazine is my own and that it has not previously, in its entirety or in part, been submitted at any university for a degree. All the sources that I have used or quoted have been indicated and acknowledged by means of complete references. Marnell Kirsten November 2013 Student number: 14353938 i Stellenbosch University http://scholar.sun.ac.za What is pornography to one man is the laughter of genius to another. - DH Lawrence (1936: 11) ii Stellenbosch University http://scholar.sun.ac.za SUMMARY In this study I analyse the first year of publication of Loslyf, the first and, at the time of its launch in June 1995, only Afrikaans pornographic magazine. The analysis comprises a historical account of its inception as relayed mainly by Ryk Hattingh, the first editor of Loslyf and primary creative force behind the publication. Such an investigation offers valuable insights into an aspect of South African media history as yet undocumented. As a powerful contributor to an Afrikaans imaginary, emerging at a time of political renewal, Loslyf provides a glimpse into the desires, tensions and tastes of and for an imagined community potentially still shaped by a censorial past. The magazine is worth studying, in part, as an example of an attempt at reinvesting the prescriptive and seemingly generic genre of pornography with cultural specificity and political content, with a view to making it more interesting and relevant. -
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”). -
Sex in the Sexy Workplace Lua Kamál Yuille
Northwestern Journal of Law & Social Policy Volume 9 Article 4 Issue 1 Fall 2013 Fall 2013 Sex in the Sexy Workplace Lua Kamál Yuille Recommended Citation Lua Kamál Yuille, Sex in the Sexy Workplace, 9 Nw. J. L. & Soc. Pol'y. 88 (2013). http://scholarlycommons.law.northwestern.edu/njlsp/vol9/iss1/4 This Article is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Northwestern Journal of Law & Social Policy by an authorized administrator of Northwestern University School of Law Scholarly Commons. Copyright 2013 by Northwestern University School of Law Volume 9 (Summer 2013) Northwestern Journal of Law and Social Policy Sex in the Sexy Workplace Lua Kamál Yuille* ABSTRACT This article presents yet another problem that cannot be addressed adequately either through an honest application of existing sexual harassment paradigm under Title VII of the Civil Rights Act of 1964 or through any of the solutions to that paradigm’s deficiencies that have been proffered since its inception: hostile environment sexual harassment of the non-sexualized worker in the “sexy” workplace. It offers a comprehensive doctrinal illustration of how both existing sexual harassment doctrine and popular critiques of that doctrine fail to respond to the unique case of the sexual harassment of a non-sexualized worker in the sexual titillation industry (e.g. a secretary at a pornographic magazine publisher). The article offers a doctrinal fix that draws inspiration from the “bona fide occupational qualification” and “business necessity defense” exceptions to Title VII’s prohibition on workplace discrimination. -
IMAGES of WOMEN in PORNOGRAPHY and Mediat
IMAGES OF WOMEN IN PORNOGRAPHY AND MEDIAt TERESA HOMMEL If a solution is to be found to the culture-wide violence towards women that we accept as part of our normal everyday society, we must first character- ize this violence as a problem and then change the attitudes we hold towards men, women, and violence. We can begin to change our attitudes by changing the images with which we surround ourselves that teach, reinforce, and perpet- uate these attitudes. Physical and psychological violence towards women is the norm in our cul- ture. Many men clearly believe that they should commit these acts, whether to enjoy themselves or to assert their masculine identity. But where do these men learn that violence towards women is a form of enjoyment or a way to assert masculinity? Feminists believe that today the primary source of images of such violence is the mass media, especially pornography. The purpose of the slideshow you are about to see is to help the audience recognize the hatred of women expressed in pornography, and to increase un- derstanding of the destructive consequences of these images. Many feminists believe that portrayals of women being bound, raped, tortured, killed, or de- graded for sexual stimulation or pleasure create a psychological association of sexuality and violence, and teach men that women are easy targets and fair game, that women enjoy being pushed around, and that violence itself is a sex- ual turn-on. In addition, such images teach women to accept victimization as inevitable, and to feel helpless and passive. The important thing to watch for throughout the slideshow is the repetition of certain themes: the association of sexuality and violence, the macho image projected as appropriate for men, the weak, passive image projected as appro- priate for most women, the joking attitude in many of the images of rape or battering, and finally, the constant suggestion that women are less than human. -
Andres Serrano – Natures Mortes Aus Blut, Schweiß Und Sperma
HIV/AIds und Kunst Andres Serrano – Natures mortes aus Blut, Schweiß und Sperma Andres Serrano, geboren 1950 in New York als Sohn einer afro-kubanischen Mutter und eines honduranischen Vaters, wuchs in einem katholisch geprägten Umfeld auf. Bereits als Jugendlicher war er interessiert an Renaissance- Malerei und speziell religiöser Ikonographie. Bereits zu Anfang seiner künstlerischen Laufbahn konzentrierte er sich auf die Fotografie – beeinflusst von Bunuel und anderen Surrealisten, waren Kadaver und insbesondere Blut, Milch und Sperma zentrale Bildelemente seiner Fotografien. D i e pe radikaler Katholiken beschädigt wurde. 1985-90 Serrano selbst wies den Vorwurf der entstan- Blasphemie immer zurück – tatsächlich d e n e n kann man das Werk als moderne Inter- S e r i e n pretation des Kreuzwegs Christi, der „ B o d y Verspottung, sehen. Ob tiefgründig oder Fluids“ plakativ, sei dahingestellt. u n d Serrano scheut dabei auch nicht Ausflüge „Immer- in die Popkultur: Die Arbeiten „Blood sions“ – and Semen III“ und „Piss and Blood“ v o r dienten als Cover-Fotos für zwei Alben allem die der Metal-Band Metallica. Diese und Andres Serrano Fotogra- andere Titel stehen in einem scheinbar fie „Piss Christ“ von 1987 aus der letzte- widersprüchlichen Kontrast zu Serranos ren – wurden einer breiteren Öffentlich- Intention, der diese Fotografien als Andres Serrano: „Ku Klux Klan“, 1998, keit bekannt: Sie zeigt ein Plastik-Kruzi- monochrome Studien zu Licht und Farb- Cibachrome, 98,5 x 79 cm fix, das mit Urin bespritzt wird, und löste einen Skandal aus, der Serrano endgültig werten bezeichnete. So bezog sich z.B. einer breiten Öffentlichkeit bekannt die Arbeit „Milk Blood“ von 1984 explizit machte: Die republikanischen Senatoren auf die geometrischen Abstraktionen Jesse Helms und Alphonse D’Amato grif- Mondrians. -
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. -
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. -
Pleasure, Pain and Pornography: a Gendered Analysis of the Influence of Contemporary Pornography on the Lives of New Zealand Emerging Adults
Pleasure, pain and pornography: A gendered analysis of the influence of contemporary pornography on the lives of New Zealand emerging adults By Samantha Maree Keene A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy in Criminology Social and Cultural Studies Victoria University of Wellington 2019 i ii Abstract Historically, concerns have been raised about violence in pornography and the influence that such portrayals may have on levels of violence against women and children. Today, pornography is pervasively available on the internet and viewed by both men and women in ever-increasing numbers. In New Zealand, violence against women and children remains at alarmingly high levels, and concerns about pornography’s influence on gendered violence are a common refrain. Research remains inconclusive about the impacts of pornography on viewers’ sexual scripts, behaviours and attitudes, yet the voices of those most affected by pornography – viewers and their partners – are often omitted from pornography studies. Few New Zealand studies employ a gendered analysis of men’s and women’s experiences with pornography. To provide research specific to New Zealand about these experiences, this thesis explores the reported influences of mainstream pornography on the lives of a self-selecting sample of (primarily) heterosexual New Zealanders between the ages of 18 and 30. It adopts a uniquely gendered analysis and critically interrogates both men’s and women’s experiences with pornography in the digital age. The findings of this research suggest that pornography research necessitates a gendered appraisal both in terms of how pornography is experienced individually, but also within intimate relationships.