[“In America, the relationship between images and discourses on the female body circulated for educational and therapeutic purposes and those circulated for the purpose of titillation is as intimate, tortured, and dysfunctional, as is any relationship characterized by common parentage and close family resemblance. This relationship reached an unsustainable level of conflict in the years following the Civil War. While Americans endured the wrenching changes to the economy as its emphasis shifted from agriculture to manufacturing, a decades-long relocation of population centers from rural areas resulted in massive cultural displacement: large numbers of young men moved into densely populated cities and were exposed to mass-produced forms of popular entertainment such as paperback books, mass-circulation magazines, flyers, and pamphlets, all made possible by economies of scale in production and distribution as vulcanized rubber was revolutionizing transportation and streamlining the printing process, not to mention reducing the manufacturing cost of latex condoms. Several cultural and religious groups attempted to circumvent the seismic shifts that these changes threatened to bring, including the Young Men’s Christian Association (YMCA) which, in 1866, sent a contingent to Albany, New York, to lobby for the suppression of obscene and licentious books and literature. In the years that followed, YMCA crusader and reformer Anthony Comstock would form the New York Society for the Suppression of Vice and successfully lobby Congress in 1873 to bring to bear federal powers to oversee the postal service and levy tariffs to bear on literature he saw as corrupting of youth. The so-called “Comstock Law” made it a felony to import or send through the mails any sexual imagery, sexual accounts, or information on birth control and abortion, because of their perceived tendency to incite and corrupt. The law survived an 1896 challenge in the case of Rosen v. US, which cited the precedent of English common law upholding the government’s ability to censor material that would tend “to deprave or corrupt those whose minds are open to such immoral influences.”
One of Comstock’s most powerful allies was the American Medical Association, which since its inception in 1847 was stepping up efforts to destroy the centuries-old tradition of midwifery and replace it with the professionalized disciplines of obstetrics and gynecology, both of which actively suppressed access and information about contraception and abortifacents. During this period, anatomy and medical textbooks were seized, restrained, and re-edited to comply with the strictures upheld in the Rosen decision.”]
kevin heffernan, From “It Could Happen to Someone You Love” to “Do You Speak Ass?”: Women and Discourses of Sex Education in Erotic Film and Video, from the feminist porn book: the politics of producing pleasure, edited by tristan taormino, constance henley, and celine perreñas shimizu, 2013
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Post Modern Art
Escaping Confines of Museum
City, Michael Heizer. Located in Garden Valley, a desert valley in rural Lincoln County in the U.S. state of Nevada. land art sculpture. 1970-2022
Collapsing Boundaries Between High and Low
Curious Kitten watercolor painting is a painting by Svetlana Novikova which was uploaded on February 23rd, 2013.
Rejecting Originality
Andy Warhol 1928–1987. Silkscreen ink and acrylic paint on 2 canvases. 1982
Jouissance
Fred Tomaselli, 2014, 60″ x 84″, photo-collage, leaves, acrylic and resin on wood panel, © 2014, courtesy of James Cohan Gallery and the artist
Working Collaboratively
Meow Wolf. Sept. 13, 2021.
Adam Christopher
Andi Todaro
Ashley Frazier, Michael Sperandeo
Brandan Styles "Bzurk”, Ellie Rusinova
Brian Corrigan
Cal Duran, David Ocelotl Garcia
Cami Galofre
Chris Bagley
Christopher Owen Nelson
Christopher Short
Collin Parson
Corrina Espinosa
Dan Taro
David Farquharson
Dice 51
Douglas A. Schenck “DAS”
Dylan Gebbia-Richards
Frankie Toan
Ian McKenna
Jaime Molina, Pedro Barrios
Jennifer Pettus
Jess Webb
Jodi Stuart, Libby Barbee
Joseph Lamar
Joshua Goss
JUHB.
Justin Camilli
Justin Gitlin aka Cacheflowe
Kalyn Heffernan, Gregg Ziemba
Katy Zimmerman, Erika Wurth
Kia Neill
Kristin Stransky
Laaiaim Mayer
Lauri Lynnxe Murphy
LORDSCIENCE UNIVERSAL
Lumonics
Marjorie Lair, Kyle Vincent Singer
Maya Linke
Myah Sarles
Nicole Banowetz
Nolan Tredway
Ramón Bonilla
Reed Fox, Ben Weirich
Sabin Aell, Randy Rushton
Scott Hildebrandt
Sean Peuquet
Shayna Cohn
Sigrid Sarda
Sofie Birkin
Thomas Scharfenberg
Viviane Le Courtois
Wanderweird
Wynn Earl Buzzell Jr.
Andrew Novick, Pamela Webb, Robert Ayala
bearwarp
Chad Colby, Lexis Loeb, Hayley Kirkman
Charles Kern, Ty Holter, Ben Jackson, Rachel Bilys, Brett Sasine
Demiurge LLC: Joe Riche and Wynn Buzzell
Eriko Tsogo, Jennifer Tsogo, Tsogo Mijid, Batochir Batkhishig
F. Ria Khan, Armon Naein, Blake Gambel, Calvin Logan, Charles Candon, Harrison Bolin, Luke Collier, Maria Deslis, Sky Johnson, Sofia Rubio-Topete
Ladies Fancywork Society
Merhia Wiese, Annabelle Wiese, Maggie Wiese, Eunseo Zoey Kim, Dan Griner
Mike Lustig, Mitch Hoffman, Tim Omspach, Nathan Koral, Evan Beloni, Ryan Elmendorf, Scott Wilson, Charlis Robbins
Molina Speaks, Stevon Lucero, DJ Icewater, Felix "Fast4ward" Ayodele, Diles, Emily Swank
Oren Lomena, Alaine "Skeena" Rodriguez, Alius Hu
Peniel Apantenco, Kim Shively, Colin Richard Ferguson Ward, (In memoriam)
Sam Caudill, Sean Louis Rove, Juancristobal Hernández
Secret Love Collective: Katy Batsel, Lares Feliciano, Colby Graham, Piper Rose, Frankie Toan, Katy Zimmerman, Lauren Zwicky, Genevieve Waller
The Church of Many: Andrea Thurber, Elsa Carenbauer, Anna Goss, Maddi Waneka and Emily Merlin
Waffle Cone Club: Kyle Vincent Singer, Scott Kreider, Marjorie Lair
Everything is Terrible!
Kevin Bourland
Michael Lujan
Moment Factory
Nina Mastrangelo
Scott Geary, Wayne Geary, Gary Ashkin
Appropriating
Paneel "Rehearsal for an Icon 2001 - Mona Lisa" von Olbinski, Grafikdruck. Digital Print
Hybridizing
Untitled (Studio)2014
Kerry James Marshall
Simulating
Andy Warhol
(American, 1928–1987) 1962. Synthetic polymer paint on thirty-two canvases, Each canvas 20 x 16" (50.8 x 40.6 cm). Overall installation with 3" between each panel is 97" high x 163" wide
Mixing Media
Mama, Mummy and Mamma (Predecessors #2)
Njideka Akunyili Crosby. 2014
Layering
Zephyrus Rising, 2022. Acrylic on Acrylic. 32 × 16 × 22 in Duncan McDaniel
Mixing Codes
Recontextualizing
Leonardo da Vinci’s Mona Lisa, 1503-6; On Winnie: Denis Colomb stoles (worn as a headdress, top and sleeves)
Confronting the Gaze
Harley Quinn in Suicide Squad David Ayer 2016 (left), Harley Quinn in Birds of Prey Cathy Yann 2021 (right)
Facing Abject
Jane Alexander, Butcher Boys, 1985/86, mixed media (Iziko South African National Gallery, Cape Town, photo: Goggins World, CC BY-NC-ND 2.0)
Constructing Identities
Creating Metaphors
Martin Puryear. Ladder for Booker T. Washington, detail, 1996. Installation view at the Modern Art Museum of Fort Worth, Texas. 2003
Using Narratives
Damien Hirst
The Physical Impossibility of Death in the Mind of Someone Living, 2013 Lentikulardruck80 x 120 cm
Irony, Parody, Parody Dissonance
A Subtlety, or the Marvelous Sugar Baby (2014). Kara Walker Photo: Andrew Burton/Getty Images
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