Art and obscenity / Kerstin Mey.
By: Mey, Kerstin
.
Material type: ![materialTypeLabel](/opac-tmpl/lib/famfamfam/BK.png)
![](/opac-tmpl/bootstrap/images/filefind.png)
![](/opac-tmpl/bootstrap/images/filefind.png)
![](/opac-tmpl/bootstrap/images/filefind.png)
Item type | Current library | Call number | Copy number | Status | Date due | Barcode | Item holds |
---|---|---|---|---|---|---|---|
General Lending | MTU Crawford College of Art and Design Library Lending | 704.9428 (Browse shelf(Opens below)) | 1 | Available | 00193011 |
Browsing MTU Crawford College of Art and Design Library shelves, Shelving location: Lending Close shelf browser (Hides shelf browser)
|
|
|
|
|
|
|
||
704.9428 Manifestations of Venus : art and sexuality / | 704.9428 Sexuality in Western art / | 704.9428 Sexuality in Western art / | 704.9428 Art and obscenity / | 704.9428 Eroticism in Western art / | 704.9428 The love life of the ancient Greeks / | 704.943 The mountain spirit / |
Enhanced descriptions from Syndetics:
Explicit material is more widely available in the internet age than ever before, yet the concept of 'obscenity' remains as difficult to pin down as it is to approach without bias: notions of what is 'obscene' shift with societies' shifting mores, and our responses to explicit or disturbing material can be highly subjective. In this intelligent and sensitive book, Kerstin Mey grapples with the work of twentieth-century artists practising at the edges of acceptability, from Hans Bellmer through to Nobuyoshi Araki, from Robert Mapplethorpe to Annie Sprinkle, and from Hermann Nitsch to Paul McCarthy. Mey refuses sweeping statements and 'knee-jerk' responses, arguing with dexterity that some works, regardless of their 'high art' context, remain deeply problematic, whilst others are both groundbreaking and liberating.
Includes bibliographical references (p. [171]-176) and index.
\'I know it when I see it\': on the definition and history of the category of the obscene -- Transgressive rituals -- Abjection and dis-ease -- Vilent images: aesthetic simulations -- \'Playing with the dead\': the cadaver as fascinosum -- Anti-normative acts: radical liberation? -- Obscenity and the documentary tradition -- Recycled fantasies: obscenity between kitsch, convention and innovation -- \'Know thyself? -- Digital (counter-) currents -- Cyber-(ob)scene.
Table of contents provided by Syndetics
- Acknowledgments
- List of Illustrations
- Abbreviations
- Introduction
- What Is War Art?
- Is War Art a Genre?
- Is War Art Propaganda?
- How Broad Is War Art?
- Organization of This Book
- Part I A Long, Rich History
- Ten Thousand Years of War Art - to 1600
- War Art, 1600-1900
- Part II The World Wars
- British Artists of the Great War
- Other Nations in the Great War and Later
- The Second World War: Four Allied National Programs
- Part III War Art since 1945
- British War Art since 1960
- U.S. and Other War Art since 1945
- Part IV Rendering and Remembering
- Other Types of War Art
- War Art as Memorial, War Art as Memory
- Epilogue
- Selected Bibliography
- Index