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The declaration that a work of art is “about sex” is often announced to the public as a scandal after which there is nothing else to say about the work or the artist-controversy concludes a conversation when instead it should begin a new one.
Moving beyond debates about pornography and censorship, Jennifer Doyle shows us that sex in art is as diverse as sex in everyday life: exciting, ordinary, emotional, traumatic, embarrassing, funny, even profoundly boring. Sex Objects examines the reception and frequent misunderstanding of highly sexualized images, words, and performances. In chapters on the “boring parts” of Moby-Dick, the scandals that dogged the painter Thomas Eakins, the role of women in Andy Warhol's Factory films, “bad sex” and Tracey Emin's crudely evocative line drawings, and L.A. artist Vaginal Davis's pornographic parodies of Vanessa Beecroft's performances, Sex Objects challenges simplistic readings of sexualized art and instead investigates what such works can tell us about the nature of desire.
In Sex Objects, Doyle offers a creative and original exploration of how and where art and sex connect, arguing that to proclaim a piece of art “about sex” reveals surprisingly little about the work, the artist, or the spectator. Deftly interweaving anecdotal and personal writing with critical, feminist, and queer theory, she reimagines the relationship between sex and art in order to better understand how the two meet-and why it matters.
Jennifer Doyle is associate professor of English at the University of California, Riverside. She is coeditor, with Jonathan Flatley and Jos� Esteban Mu�oz, of Pop Out: Queer Warhol.
- Sales Rank: #14815152 in Books
- Published on: 2006-02-25
- Original language: English
- Number of items: 1
- Dimensions: 10.00" h x .70" w x 7.00" l, 1.38 pounds
- Binding: Hardcover
- 224 pages
Review
"After reading [Sex Objects], you get the feeling that Doyle is exactly the kind of companion you'd like to have along at a museum or a show, where she'd make you snicker, cry, think, or desire in all the wrong places." - Cynthia Young -- Women's Studies Quarterly, Spring 2007
"A rich and complicated book...Doyle's writing is applicable to any of us, to artists in all disciplines." -- Border Crossings: A Magazine of the Arts, Summer 2006
"An excellent disruption of current critical theories about how sex matters in art." -- Art Monthly, December-January 2006-2007
From the Publisher
"A beautiful and provocative book. Doyle convincingly argues that visual culture is inherently sexed and that the study of images tells us something critical about how we inhabit the world." - Amelia Jones, author of Self/Image
From the Back Cover
"Like a brassy fag hag crashing a gay sex party, Jennifer Doyle mixes it up here with a queer lot. Whether she's just watching or actively participating, whether turned on or bored, thinking or crying, or most likely all of these at once, Doyle shows us how crucial a queer feminist perspective is to understanding the erotics of art." -Douglas Crimp, author of Melancholia and Moralism
Most helpful customer reviews
0 of 0 people found the following review helpful.
Three Stars
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3 of 3 people found the following review helpful.
the many ways sexual desire has been portrayed in art in the past 100 years
By Henry Berry
You know that any book of criticism with Thomas Eakins, the notorious pornographic film "Moby Dick," Andy Warhol, Vanessa Beecroft, and Tracey Emin in it is going to be quirky. What links all of these quirky artists in this work by an associate professor of English at the U. of California-Riverside and co-author of "Pop Out: Queer Warhol" is their approaches to handling sexuality. With Eakins, the approach in his time and place of Victorian era America was subtle and ambivalent. With Warhol, the approach was ironic and often detached. With Beecroft, forward and multiplicitous. These and the other unconventional treatments of sexuality are critiqued with reference to "the queer theory that addresses the limitations of dominant (largely binary) models for sexual identity for describing our sexual lives and for understanding representations of sexual difference and sexual desire." Doyle demonstrates a sure understanding of the latest methodology and critical possibilities of queer theory.
5 of 6 people found the following review helpful.
excellent for academics and non academics
By Sarah Miller
I picked up this book because I met Professor Doyle socially and I am into art. I particularly enjoyed her chapter on Tracey Emin and her introduction, wherein she discusses Moby Dick in decidedly non-academic terms. Most academic prose is like soap without water, but Doyle manages to get a good lather going. Her work is deep but accessible in the best way, not because it's easy, but because it actually makes you think about thinks that matter, and mean something.
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