Pornographic Art and the Aesthetics of Pornography  

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Kunstformen der Natur (1904) by Ernst Haeckel
Kunstformen der Natur (1904) by Ernst Haeckel

Pornographic Art and the Aesthetics of Pornography (2013) is a book on the porn/art debate edited by Hans Maes. It argues (contra Levinson and Uidhir) that pornographic art exists.

On the cover is the 'fresh' image of Purple Hyacinth, fresh state/desiccated state by Michael Petry.



Introduction | Maes, Hans | Pages 1-24

The introduction states that modern aesthetics (beginning with the désinteressement of Shaftesbury and Kant was unfavorable of sensuality.

It praises Nietzsche as the first philosopher of sensualness.

"all beauty incites to procreation—… precisely this is the proprium of its effect, from the most sensual regions up into the most spiritual…." --Twilight of the Idols
"When, forsooth, our aesthetes never get tired of throwing into the scales in Kant's favour the fact that under the magic of beauty men can look at even naked female statues "without interest," we can certainly laugh a little at their expense:—in regard to this ticklish point the experiences of artists are more "interesting," and at any rate Pygmalion was not necessarily an "unaesthetic man." --On the Genealogy of Morality:

Parts of this introduction (the bit on the unsensualness of modern aesthetics), were reproduced in Stanford Encyclopedia of Philosophy article on 'erotic art' by Hans Maes (2014).

Pornography, Art and Porno-Art | Mikkola, Mari | Pages 27-42

Sommige essays die deel uitmaken Maes (Maes 2013) zijn ronduit lachwekkend. Ze aanduiden met de term scholastisch muggenziften genre “hoeveel engelen kunnen dansen op een speldenknop” is ze zelfs nog teveel eer aan doen. Exemplarisch is het essay “Pornography, Art and Porno-Art” van Mari Mikkola dat beweert dat “pornografische kunst” weldegelijk bestaat maar dat de eerste instanties ervan nog moeten gemaakt worden. Mikkola maakt bovendien een wel erg vreemde analogie door het volgende gedachtenexperiment. Laten we met wodka en tomatensap een nieuw drankje maken, namelijk Bloody Mary. Maar zegt, Mikkola, dat ondermijnt de wederzijdse uitsluiting van wodka en tomatensap niet. Daarna roept ze zich plots uit tot exclusivist. Om dan de boel weer om te draaien en het te hebben over aangelengde wodka en gepimpt tomatensap. Geen touw aan vast te knopen.

Exclusivism and Evaluation: Art, Erotica and Pornography | Patridge, Stephanie | Pages 43-57

  • "by illustrations, examples, and instances rather than by serious argument and philosophy" (Hume, Dialogues Concerning Natural Religion).
  • In order to help us see this point, Maes (Maes, 2009) asks us to consider Saving Private Ryan. Spielberg's goal, Maes claims, is to present the events of D-Day as vividly as possible and then, as it were, get out of the way. He is not a show-off director who draws attention to his own virtuosity with every shot. He wants the audience to focus on the events and nothing else. But to make this degree of immersion possible requires great artistic skill – skill that will invite admiration when successfully ...
  • Patridge devised "incorrigible social meaning"

A Pornographic Way of Seeing | Mumford, Stephen | Pages 58-72

  • "If we follow this anti-essentialist theory of art, should we also opt for an institutional theory of pornography? "

Pornography and Acting | Zamir, Tzachi | Pages 75-99

The Fictional Character of Pornography | Liao, Shen-yi (et al.) | Pages 100-118

Image Economies and the Erotic Life of the Unlovely | Winters, Edward | Pages 119-138

Before Pornography: Sexual Representation in Ancient Roman Visual Culture | Clarke, John R. | Pages 141-161

Sheela-na-gig Again: The Birth of a New Style from the Spirit of Pornography | Trinks, Stefan | Pages 162-182

Aestheticizing Pornography for the 21st-century Academy: Pedagogy as Ars Erotica or Scientia Sexualis? | David Bennett| Pages 183-202

The chapter is an updated version of

It defines "the difference between between pornographic and erotic books [...] as [...] the height of the shelf."

Bennett's article quotes: "Miller was drafted at a radical turning point in the history of art, and the new art that has arisen since Miller has rendered standards such as 'serious artistic value' obsolete. This new art— postmodern art — rebels against the demand that a work of art be serious, or that it have any traditional value at all." --"Post Modern Art and the Death of Obscenity Law," 99 Yale L.J. 1359 (1990) by Amy Adler

It also states: "Aesthetic philosophers’ discussions of the art/pornography relationship often seem historically uninformed and politically naive – forgetful of the Wittgensteinian insight that 'meaning is use' and that the concepts of art and pornography have become thick with the grime of numerous, disparate, ideological, commercial, political and legal uses since they were first constructed as opposites in the Enlightenment’ (p. 183-4)."

It cites: "[ Romance, Baise-moi and Irréversible ] are not porn, nor are they even films about porn." --Lisa Downing (2004) and "Could critics such as Michelson, Penley, Freccero and Downing be described as undertaking with their academic discourse what the 'Post-Porn Modernist'"

The article cites "Ulysses, Order and Myth" (1923) by T. S. Eliot

Cites: John Barrell's Birth of Pandora, Allison Pease's Modernism, Mass Culture, and the Aesthetics of Obscenity (2000)

Clean Feet and Dirty Dancing: The Erotic Pas de Deux and Boys in the Sand Miller, Edward D.Pages 205-220

The Pornography of Death Tercier, JohnPages 221-235

Porno-Graphic: Why Words Matter in Fiona Banner’s Arsewoman in Wonderland | Dhillon, Kim | Pages 236-251

A Queer Balance: Power Relations in Homosexual Representations and in Choosing FlowersPetry, Michael Pages 255-273

The Fluidity of Acceptability: Seduced by Art and Pornography and the Kinsey Institute Collection | Wallace, Marina | Pages 274-286

My Pornographic Development | Arrowsmith, Anna | Pages 287-297

See also

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