Title: Edge of Obscenity: the line between art and pornography
Author: Lukasz Lesnik
Publication Year/Date: May 2024
Document Version: Fine Art Hons dissertation
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https://creativecommons.org/licenses/by-ncnd/4.0/
https://doi.org/10.20933/100001303
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Edge of obscenity
The line between art and pornography
Abstract
This proposed exhibition explores artworks relating to the field of erotic art. Edge of Obscenity; The Line Between Art and Pornography aims to bring about conversations regarding distinguishing art from pornography, question artistic organisations, give visibility to queer artists and put pressure on main social media corporations to change their algorithm as well as terms and conditions.
The works chosen range in the mediums used, they include photography, painting, film, and digital manipulation. This exhibition will display art by some well-known artists like Nan Goldin, Tom of Finland or Robert Mapplethorpe as well as up-and-coming artists that work with erotic themes The choice was also made to include David Hurles who was a pornographer to further promote the discussion on art and pornography.
List of figures
Fig 1. Page 7, Installation shot 1 [View of room 1, presenting James Bidgood - Pink Narcissus, 1971] Lukasz Lesnik. 2024
Fig 2. Page 8, Installation shot 2 [View of left-side of room 2 upon entrance, presenting Delmas Howe – The Abandoned Martyr, n.d] Lukasz Lesnik. 2024
Fig 3. Page 9, Installation shot 3 [View of room 3 middle, presenting Robert Mapplethorpe – Self Portrait with Whip, 1978] Lukasz Lesnik. 2024
Fig 4 Page 9, Installation shot 4 [View of room 2 middle-back upon entrance, presenting Robert Mapplethorpe – Cock, 1986] Lukasz Lesnik. 2024
Fig 5. Page 10, Installation shot 5 [View of room 3 right-side upon entrance, presenting Doron Langberg- Friend 2, 2021] Lukasz Lesnik. 2024
Fig 6 Page 10, Installation shot 6 [View of room 2 right-side back corner upon entrance, presenting Doron Langberg- Fucking 2, 2020] Lukasz Lesnik. 2024
Fig 7. Page 11, Installation shot 7 [View of room 3 far-right front corner upon entrance, presenting Thomas Ruff – Nudes AN40, 2001] Lukasz Lesnik. 2024
Fig 8 Page 11, Installation shot 8 [View of room 2 right-side upon entrance, presenting Thomas Ruff – Nudes MN12, 1999] Lukasz Lesnik. 2024
Fig 9. Page 12, Installation shot 9 [View of room 2 right-side front corner upon entrance, presenting Wolfgang Tillmans - Stiefelknecht II, 1993] Lukasz Lesnik. 2024
Fig 10. Page 12, Installation shot 10 [View of room 3 left-side upon entrance, presenting Wolfgang Tillmans – Neckt 2, 2014] Lukasz Lesnik. 2024
Fig 11. Page 13, Installation shot 11 [View of room 2 middle-front upon entrance, presenting Lukasz Lesnik – Untitled 3 pieces, 2014] Lukasz Lesnik. 2024
Fig 12. Page 14, Installation shot 12 [View of room 3 front upon entrance, presenting Nan Goldin –Bobby Masturbating, 1980] Lukasz Lesnik. 2024
Fig 13. Page 15, Installation shot 13 [View of room 3 right back upon entrance, presenting David Hurles – Iceman, 1982] Lukasz Lesnik. 2024
Fig 14. Page 15, Installation shot 14 [View of room 3 front middle, presenting David Hurles – Untitled, 1986-1991] Lukasz Lesnik. 2024
Fig 15. Page 16, Installation shot 15 [View of room 3 exit corridor left-side, presenting Tom of Finland – Untitled (motorcycle series), 1959-1960] Lukasz Lesnik. 2024
Fig 16. Page 17, Exhibition Floor Plan, Lukasz Lesnik. 2024
Fig 17. Page 17, Installation shot 17 [View from above] Lukasz Lesnik. 2024
Introduction
Erotic art, an integral facet of artistic expression, serves to illuminate not only our inherent sexual nature but also the complex relationship humans share with sexuality itself. Throughout history, societal perspectives on the appropriateness and permissibility of erotic art have undergone fluctuations. The eras of Ancient Greece and Rome stand out as periods marked by remarkable degree of sexual liberation, wherein depictions of eroticism were not only celebrated but also adorned various artifacts.
However, with the ascendence of Catholicism, attitudes towards sexuality reshaped, becoming more reserved and discreet. Sexuality became a concealed and private matter, society distanced itself from the openness witnessed in ancient civilisations (Patton, 1988). Despite contemporary discussions about sex in educational curricula and media, the realm of art has yet to achieve the levels of sexual liberation observed in the past. The censorship of art deemed pornographic or obscene has emerged as a significant issue within the art world, compelling artists to engage in self-censorship and dissuading them from exploring this subject matter. Artist working within the erotic as well as other controversial topics find themselves in a position where the two options are self-censorship or loss of work. According to Adele Redmond (2020) referring to a survey conducted by ArtsProfessional, more than 80% of people thought that employees of the art and cultural sector that share controversial opinions are at risk of being ostracised.
Erotic art finds itself relegated to the margins of the mainstream art world, with prominent galleries hesitating to exhibit anything perceived as too controversial, fearing potential loss of sponsorship (Hencz, 2021). As a consequence, smaller private galleries shoulder the responsibility of showcasing such content. This reluctance extends beyond galleries to social media platforms, where artists sharing images considered ‘inappropriate’ by algorithms often face bans without room for discussion. Erotic art continues to be stigmatized, associated with notions of filthiness, and is not accorded the seriousness it deserves.
In response to these challenges, the exhibition Edge of Obscenity: The Line Between Art and Pornography assumes significance by presenting works out of context aiming to provoke contemplation on the distinctions, if any, between art and pornography and the institutions responsible for making such determinations. It holds particular importance for Scotland, a country where discussions around sex may be open at societal level, yet galleries exhibit a reluctance to
engage with this theme. Unlike countries such as Germany or the Netherlands, where a more open approach to the themes of sex and fetish is evident, Scotland lacks a substantial platform for such expression. With the exception of one gallery, Virginia Gallery, there is a noticeable absence, prompting artists who would otherwise delve into this to alter their focus.
I personally connect with this topic as an artist who produces works within this particular subject matter. I have experienced the challenges of sharing my artworks, encountering notifications that my work does not align with community guidelines, and subsequently facing the choice of either removing them or engaging in self-censorship. Another significant issue that erotic artists experience is the phenomenon of shadow-banning, wherein their content is not visible to anyone beyond their followers (Fowler, 2022). This not only leads to considerable frustration but also hinders opportunities for gaining recognition. I have observed firsthand the disappearance of accounts I follow and witnessed individuals expressing their dissatisfaction with the challenges associated with erotic art on various platforms. In my opinion, art should be granted the freedom to explore diverse subjects, with the provision of warnings for content that may be deemed sensitive.
This exhibition will comprise of 10 artists who have worked within the field of erotic art. While some of these artists may be recognised within the artistic community, their fame may not necessarily stem from the selected pieces featured in this exhibition. Among the chosen artists, a mix of established figures and emerging talents is represented. The selection deliberately includes individuals who may not be widely acknowledged for their contributions to erotic art. The curated artworks aim to spark debates and draw attention to content that could, in theory, be categorized as pornographic by some. Many of the pieces are visually explicit, and some even challenge specific arguments put forth by philosophers.
History of the Erotic/Pornography
The history of erotic art is long and complex It is hard to point out when exactly erotic arts began, some say it is a practice as old as the human race. The first known example of something that would fall into the field of erotic art is the “Venus of Hohle Fels”. It is estimated that this figurine is curved out of mammoth-ivory and is between 35,000 to 40,000 years old This is the oldest Palaeolithic Venus and this one like many others prompts theories regarding its purpose. As highlighted in the article by Liew (2017), they might have been used for rituals due to the shape and size of them as they represented full and curvy woman at a time where most women would have been lean and muscular and the small size would have made them easy to carry.
The theory proposing the ritual use of the Venuses remains speculative, but the undeniable fact is that ancient Greeks and Romans existed in a milieu saturated with sexuality. Current excavations in Pompeii a city preserved by the eruption of Mount Vesuvius in AD79 have uncovered a vast number of relics and murals depicting explicit sex scenes (Giuffrida, 2022). This continued for hundreds of years but, with the collapse of the Ancient Greek and Roman empires and the ascension of Catholicism, public opinions underwent a transformation. The belief that sex was something that shouldn’t be discussed or enjoyed took over. Denova (2021) notes the push of Christian ideology, where sexual intercourse was deemed a sin, albeit a necessary evil, with the Church Fathers insisting on the use of genitals solely for procreation. The Church employed shame, guilt, and fear to control public opinion, this however did not eradicate sexual depictions, it changed them. Depictions of sado-masochistic nature were normalised in religious paintings.
The portrayal of Saint Sebastian is a great example, the patron saint of archers was ordered to be killed by arrows. There is nothing inherently sexual in this biblical story but one mention of him being stripped naked before his attempted execution. This allowed artist to run wild with the story, often portraying him with minimal wounds, tied up and without much pain in his expression, like the Saint Sebastian painting by Perugino (1446-1523). This painting was done in 1495 and depicts an adolescent Saint Sebastian with 2 arrows in him however as mentioned before the facial expression is at most concerned and the amount of blood coming from the wounds is hard to notice. Erotic art, once the domain of the rich and educated, became accessible to the general public with the invention of the printing press. Giulio Romano’s (1499-1546) illustrations of heterosexual intercourse, initially devoid of controversy ignited a scandal when Marcantonio Raimondi (c.1480?-1534)
engraved and reproduced them. The incident resulted in Romano’s flight and Raimondi’s imprisonment. In the centuries that followed the views of people and the power of the government and church fluctuated until the nineteenth century, being noted that “at the beginning of the nineteenth century ‘obscenity’ began to be the consideration that overrode all others in deciding how to classify objects of the past” (Tang, 1999, p. 41) The measure of obscenity meant that anything in art that was considered immoral or indecent could be prosecuted by the government.
Up until this point, the histories of erotic and pornographic followed parallel trajectories. However, with the advent of the camera and video camera, a clear distinction emerged between what was considered art and what was deemed obscene. The next part of this chapter will focus on how people try to differentiate between what is art and what is pornography.
Understanding Erotic/Pornographic Art
The terms ‘erotic’ and ‘pornographic’ are not easily defined and in fact the attempt to define these terms is as complex as the debate on the difference between them So, the difference between them is what defines them, therefore the long discussion on the difference between what is erotic and pornographic lacks a singular answer
Some argue that if something is art, it cannot be pornographic. The four main arguments in the debate revolve around representational content, moral status, artistic qualities, and prescribed response (Maes and Levinson, 2012)
The first argument is that pornography is sexually explicit, often depicting rough and violent sex which stands in contrast to erotica which is representational and emphasizes passion, love, and equality (Webb 1975, p. 2; Steinem 1995, p. 31; Mahon 2005, p. 15). This argument draws from the etymology of the words, where pornography originates from the Greek words ‘porne’ meaning prostitute and ‘graphos’ meaning ‘writing about’ or ‘description of’. Erotica comes from ‘eros’ the Greek god of love implying passion, consensuality and romanticism
The second argument aligns with the first, linking the sexually explicit nature of pornography to moral corruption. Proponents of this theory believe that pornography depicts violence, rape, and aggression and even with the right treatment of the actors, pornography can still cause harm to the viewer. Many assert that pornography encourages misogyny, dominance, and aggression from males towards females. Steinem (1995) believes that pornography depicts force and violence, some might be obvious in the depiction when portraying torture, bondage, wounds, bruises, or humiliation while other more subtle with the use of age, unequal nudity, attitude, race, or class. In contrast, proponents of this argument believe that erotica embodies mutual equality and morality.
The third argument emphasizes artistic qualities. In this argument there are two layers. The first layer is that art is complex, thought provoking and multilayered, and pornography serves a singular function of sexual arousal. This one-dimensional focus prevents pornographic movies to present as anything other than a product for commercial gain with artistic qualities that are lacking in many cases (Webb 1975, p. 6; Mahon 2005, p. 14) The second layer is that art is original while pornography is formulaic and full of cliches. This argument states that pornography is a product of mass production which makes it repetitive “Both artist and pornographers deal in fictional worlds, but the imaginative creations of artists offer us a way of perceiving and understanding the reality we actually live in. Pornographers, by contrast, simply seek to refashion reality as the compliant object
of our desires and fantasies” (Scruton 2005, p. 15). This means that because pornography adheres to majority of human desires it can be perfected and made into a formula. On the other hand, art challenges views by being original and questioning our reality.
The last argument explores the notion of a prescribed response, with the belief that pornography hinders imagination by offering explicit details while erotic art is meant to be contemplated and appreciated. Levinson (2005) differentiates erotic art from erotica and pornography, his belief is that both erotica and pornography aim to sexually affect the viewer, however erotica aims to stimulate, and pornography to arouse Erotic art also aims to stimulate but at the same time it encourages the viewer to think about the medium and how it manages to achieve it.
Despite the complexity of these theories, none are infallible, as each can be countered. Works of art and pornography exist that challenge even the most established philosophical perspectives. Humans are perhaps the most complex beings in the world, and everyone has their own opinions around the subject. The strict differentiation between art and pornography poses challenges, particularly when a work of art is labelled as pornographic (Maes and Levinson, 2012, pp. 38-40)
Historical instances, such as Egon Schele’s imprisonment in 1912 or the controversial Robert Mapplethorpe exhibition, where graphic homoerotic photographs led to the cancellation of the entire show, underline the repercussions faced by artist exploring explicit or pornographic themes. Instances of censorship extend across museums, bookstores, movie theatres, magazines, and social media (Hencz, 2021). The now famous painting by Gustave Courbet called The Origin of The World is perhaps the most famous example of modern censorship. John Beckley (2016) states that in 2011 a news story broke out when a Copenhagen based artist posted the image on Facebook which led to the banning of the artist’s profile as well as all other pages containing this painting regularly got disabled. This led to a lawsuit and a change of policy from Facebook, however Facebook still regularly follows the algorithm that they have created which isn’t always accurate It is undeniable that the treatment of something that might be considered explicit or in any way pornographic leads artists to self-censorship (Redmond, 2020) Hans Maes (2012, pp 38-43) suggests a different perspective, acknowledging that while mainstream pornography may lack aesthetic appeal, exceptions exist, prompting a proposal for a category of pornographic art. The category of pornographic art could create an ultimate way to deal with this issue. Artworks that are deem too graphic for erotic art could be considered pornographic art. This would still give them recognition as artworks encourage other artists to create works that fit this category.
Artists and Artworks
James Bidgood was an American filmmaker, photographer, and visual and performance artist. He is most famous for his homoerotic artworks and specifically the movie ‘Pink Narcissus’. The Narrative unfolds through the fantastical journey of Bobby Kendall, a male prostitute. The film’s captivating cinematography employed a spectrum of coloured lights, creating moods that immerse viewers in the protagonist’s psyche. ‘Pink Narcissus’ Delves into various fantasies, utilizing props and costumes to depict fetishes. I’ve chosen this film for the exhibition because it was among the first that prompted me to ponder whether it qualifies as a pornographic work or a piece of art. Despite the explicit scenes, the movie’s stunning aesthetics elevate it beyond the conventional perception of pornography, positioning it as a visually beautiful and thought-provoking cinematic experience (Heath, 2017).
‘The Abandoned Martyr’, n.d, oil on canvas, 96.52 x 99.06cm|38 x 39in
Delmas Howe, an acclaimed American painter, distinguishes himself through his portrayal of cowboys within contexts of eroticism and homosexuality. His paintings often intertwine these figures with the breathtaking landscapes of New Mexico. This particular piece is thought to originate from his series in New York, where Howe lived and studied in the 1960s, however, this cannot be confirmed as there is very little information about this piece online (Boyle, 2023). The mastery evident in Howe’s manipulation of shadow and light, coupled with his commitment to realistic colours, renders the painting strikingly graphic. The thematic elements of threesomes and bondage permeate the composition, offering a provocative exploration of lust. The selected piece is noteworthy as it navigates the delicate balance between artistic quality and moral considerations in art. While aligning with the argument that art possesses inherent artistic qualities, it simultaneously challenges the notion that art must conform to a moral standard. In depicting fetish and sex devoid of romanticism, the painting serves as a testament to Howes unapologetic visual expression.
‘Self Portrait with Whip’, 1978, Vintage gelatin silver print mounted to museum board, 50.8 x 40.6cm|20 x 16 in ‘Cock’, 1986, silver gelatin print, 61 x 50.8 cm| 24 x 21 in
Robert Mapplethorpe is one of the most known figures within photography. His art caused a stir and posed questions regarding sexuality, gender, and fetishism. Due to the themes and nature of the photographs Mapplethorpe was always at the centre of the debate on obscenity (Tate, 2018; Roizman, 2016). His photographs are bold, detailed, and impossible to ignore, shot beautifully on a film camera. The self-portrait is in a way vulgar with the pose and graphic detail while at the same time the expression on the artists face could be interpreted as challenging. The second photograph chosen fittingly named Cock depicts a close up of a man wearing a white shirt, black suit trousers and braces, with his genitalia exposed. The background is all black, but Mapplethorpe still manages to achieve contrast focusing the viewers eye on the penis itself with the use of light. The way that the artist decided to zoom in, removing the models face and any recognisable features objectifies the model, presenting the organ as it is. The name of the piece Cock also boldly states what it is that the artist is trying to show and limits the viewer in creating an alternative meaning. These artworks have been selected because the artist was not afraid to venture to this subject matter and challenge the corporations that decide on what is art.
4. Doron Langberg (1985)
‘Friend 2’, 2021, oil on linen, 243.84 x 203.2cm|96 x 80in
‘Fucking 2’, 2020, oil on linen, 24 x 18 cm |9 29/64 x 7 3/32 in
Doron Langberg, an American figurative painter, draws inspiration from his personal journey as a queer individual to depict everyday scenes, encompassing portraits of family, friends, and lovers. Langberg makes it clear that his queerness is not just a sexual experience but a way of being (Victoria Miro Gallery, 2019; Phillips, 2021). The two pieces chosen, disarm the viewer with the use bold colours and vivid hues, but after closer inspection the pieces depict gay intercourse. The bright colours can also be interpreted as enjoyment, energy, or pleasure. Langberg for those pieces chose to do a close up which makes the viewer focus on the sexual act preventing contemplation of the people themselves. The selected artworks, while unquestionably works of art, are still very graphic which leads back to argument about prescribed response in which philosopher Luc Bovens states that artist should refrain from using graphic detail as this creates shameful gaze and deprives the viewer from using their imagination (1998, p. 215). Langberg achieved graphic detail and counters that argument by creating these visually stimulating art pieces.
‘Nudes AN40’, 2001, vintage pigment print, 75 x 60cm|29 1/2 x 23 1/2in, Framed: 82 x 67.5cm|32 3/8 x 26 1/2in.
‘Nudes MN12’, 1999, digital colour coupler print, diasec mounted, 138 x 90 cm|54 3/8 x 35 3/8 in
Thomas Ruff is a German photographer who specialises in image manipulation methods The artist is known for taking images from internet pornography and digitally enlarging them (Gagosian Gallery, 2018). This was done to mask the crude clarity of the original, however, even though these images have been edited and blurred, they are still pornographic images. This piece has been selected because it simultaneously agrees with the argument of representational content while going against the argument of moral status. The process of blurring the images even thought might change the context of the pieces doesn’t change the morality. Arguably this could still have the same effect as the unedited version as it is discernible what the images were before and could arouse in the same way.
‘Stiefelknecht II’, 1993, Colour coupler print, 58.4 x 40.3cm | 23 x 15 7/8 in.
‘Neckt 2’, 2014, Colour coupler print, 114 x 74cm | 44 7/8 x 29 9/64 in.
Wolfgang Tillmans is a contemporary German photographer. He is seen as one of the leading and most popular photographers in the world. Tillmans is known for his investigation of his surroundings. Tillmans themes are very broad they vary from landscapes, portraiture and more importantly for this exhibition the LGBTQ+ culture. (Royal Academy, 2023) These pieces were chosen due to the graphic nature of them. The photographs were captured in a naturalistic style and appear as though not edited. The first piece Stiefelknecht II depicts a male orally pleasuring another from first person perspective of the receiver. The direct eye contact brings the viewer into the moment of pleasure. The lighting on the figures and darkness in the background give the impression as if the scene is happening outside at night and flash has been used. The second piece Neckt 2 shows a male laying on his stomach and the shot is taken from behind. The image is very close up making the figure appear as a piece of meat that’s ready to be eaten. The scale at which this photograph was printed makes it extremally impactful and shocking.
‘Untitled’, 2023, oil on canvas, 30.5 x 25.5 cm, 18 x 13 cm
Lukasz Lesnik is a Polish artist that mainly works in painting. Through portraiture Lesnik explores themes of gender, queerness, sex, and emotions. Central to his artistic exploration is a deep engagement in queer culture and the artists personal beliefs taken from personal experience. In these paintings the artist explores his own sense of detachment from potential romantic partners, grappling with the inability to forge meaningful connections. Lesnik navigates this theme by incorporating pornography, portraying individuals engaged in the act of sex. However, within the context of pornographic imagery, these acts symbolize a detachment of emotion.
8. Nan Golding (1953)
‘Bobby Masturbating’, 1980, vintage chromogenic print, 50.8 x 40.6cm |20 x 16 in.
Nan Goldin, an American photographer renowned for her dedication to the LGBTQ+ community, notably during the AIDS epidemic, celebrated for her significant exhibition titled The Ballad of Sexual Dependency (MoMA, 2016). This deeply personal showcase follows the artist’s journey, delving into themes of love and loss, drug abuse, nightlife, and domestic violence. Goldin captures her friends and lovers in vulnerable moments and spaces (MoMA, 2016). The image chosen from the collection features Bobby, Goldin’s lover, engaged in the act of masturbation. The subject has his head tilted to the side and down with his gaze towards his penis. The lack of direct eye contact creates an atmosphere of vulnerability and submissiveness Despite evident artistic intent and the desire to document the artist’s life, the image carries a pronounced sexual element. When viewed out of context, the image could potentially convey an entirely different meaning one relating to vintage pornography
‘Iceman’, 1982, black and white print, 68 x 100 cm
‘Untitled’ (A photograph from Old Reliable Catalogue), 1986-1991, black and white print, 80 x 64 cm
David Hurles, a revered figure in gay photography, founded the ‘Old Reliable Tape and Picture Company’ a solo venture dedicated to capturing explicit portrayals of men. Early on, Hurles discovered his fondness for straight, macho men, leading him to recruit models from the ranks of ex-convicts and drug addicts known for their rebellious attitude, often seen smoking, and defiantly giving the middle finger (Hanson, 2020, pp. 179–184). I have selected these images due to their likeness to the work of Robert Mapplethorpe, yet Hurles remained relatively unrecognised, known mainly to a niche audience appreciating his style and skill. These images contribute directly to the discourse on moral standing. Hurles focused on depicting men with criminal backgrounds, offering them money and platform while simultaneously exploiting their circumstances (Hanson, 2020, pp. 179–184). Despite the ethical considerations, these images maintain an artistic quality comparable to many others in the realm of art. They possess a unique aesthetic that transcends the explicit content, challenging conventional notions and contributing to the broader artistic dialogue.
10. Tom of Finland (1920-1991)
‘Untitled’ (motorcycle series), 1959-60, graphite on paper, 31.4x 22.9cm|12 3/8 x 9 in
Tom of Finland aka Touko Laaksonen wildly regarded as a master at representing the male figure (David Kordansky Gallery, 2023a). His renderings were incredibly detailed while at the same time being very stylised. Tom created a fantasy world people could get lost in. The pieces are rendered to perfection with great contrast and smooth blending of the pencil. The artist adds texture to the clothing, vehicles, and background, the textures are most detail on the people to bring attention to the and create depth. Perhaps the most recognizable part of Tom of Finland’s work are the proportions of the men depicted. The drawings have unnaturally broad shoulders and chest, perfectly round buttocks, and unrealistically large penises. These works have been selected because Tom of Finland in general is a great example in the debate. His drawings even though gathering the prestige of art are still meant to arouse and not just stimulate. In his career he created many comic book style strips that told stories very comparable to modern day pornography and were published in gay erotic magazines (David Kordansky Gallery,2023b).
Curatorial decisions
Multiple different layouts have been considered before choosing the layout above. The unsuccessful layouts can be found in appendix 1.1.
The chosen layout is intended to create an intimate feeling between artworks and viewers. The gallery space has been divided into three separate rooms, one for the film, and the other 2 for paintings, photographs, and drawings. The reason for this is to prevent visitors from being overwhelmed by the amount of graphic nudity and take as long as needed to look at the individual works.
The choice of red on the walls is deliberate for various reasons. The first reason is the colour symbolism. According to Kendra Cherry (2023) red is the most emotional colour with multiple meanings, it can mean passion and love but also anger and power. Red is also a colour that stimulates and excites which is very fitting because the intent of the exhibition is to stimulate the minds of people attending. However, the shade chosen is not extremely vibrant so as not to distract the viewer from the artworks but still create sensory interest and atmosphere. Another reason is looking at previous exhibitions of Robert Mapplethorpe like the Sensitive Lens in 2019 or 50 Americans in 2011 where the use of red colour complemented the black and white photographs while at the same time creating ambience. Red has a lot of associations to sex, “red dresses are generally considered sexy, cities have red-light districts, we enhance the sensuality of lips with red lipstick” (Jones, 2013). Jones also states that the ancient humans of Pompeii understood the connection between the colour red and sex, it was proven by the excavated house known as the Villa of the Mysteries which subtly links this exhibition to the history of the erotic arts. Another inspiration for the red walls is the men spa in Glasgow called The Pipeworks. The spa consists of many rooms fitted for different purposes. The running theme is red, and the lounge area has red walls that appear to look like red curtains. The importance of relating the exhibition to queer spaces is significant as it creates a link between the works and the way they are presented.
This exhibition starts as soon as you walk into the exhibition room, the corridor leading to the first room would be dimly lit inducing anticipation and excitement while at the same time creating the atmosphere that draws inspiration from brothels, clubs, and gay spas.
The first room the visitor enters is displaying the visually stimulating film by 1. James Bidgood ‘The Pink Narcissus’ Considering this is a film and not a painting or photograph, appears to be the least graphic. The film begins quite slowly with very little nudity but as the movie progresses the more graphic the scenes become. This film works great as the first piece because it prepares the viewer for the other artworks.
After the film, the visitor walks into the second room where the work by 2. Delmas Howe ‘The Abandoned Martyr’ is to their left. This painting invites the viewer to contemplate the dynamic between the people in it and bring attention to the subject matter. Even though there is a story to this painting the viewer might notice the setting and actions. The message of the exhibition becomes clearer the moment the viewer turns around they are confronted with 5. Thomas Ruff ‘Nudes MN12’. An image depicting the same action of oral sex in a very different medium. From that distance Thomas Ruffs work would look very realistic as our eyes would make the image whole instead of paying attention to the blurriness. This in turn adds a different context to the Abandoned Martyr as it leads to comparing of the works.
The next image to the right of The Abandoned Martyr is the first picture by 3. Robert Mapplethorpe ‘Cock’. This image contrasts with the others in that room by being the only one that’s black and white. The medium that Mapplethorpe used is what makes this artwork so graphic, and even though it opposes the three paintings by 7. Lukasz Lesnik and is next to 4. Doron Langberg ‘Fucking 2’ paintings that depict more sexual acts the photo still stands out as the one more graphic.
As mentioned, the next artwork is 4. Doron Langberg ‘Fucking 2’. This artwork is displayed in that corner of the room as to contrast with the works around it. This painting is extremally vibrant however, still of sexual theme and as the title suggest depicting people ‘fucking’. This painting is intended to make people question if the medium of the piece is important to the treatment of the artwork.
Moving along to the middle of the room to view the work by 5. Thomas Ruff ‘Nudes MN12’. This work is larger which means that it must be viewed from a distance hence why it is also located on the furthest wall in the room. At this point the viewer might realise the qualities of the image and how truly blurry it is, but under the blurry effect it still depicts a scene from a gay pornographic movie.
When the visitor looks to the left, they might notice perhaps one of the most graphic examples of art in the whole exhibition, the work by 6. Wolfgang Tillmans ‘Stiefelknecht II’. This artwork is the only photograph that depicts the act of oral sex without any effects or painterly style which means that displaying it in this context is the closest thing to conventional pornography in the exhibition.
After this piece there are the three pieces by 7. Lukasz Lesnik this again creates contrast to 3. Robert Mapplethorpe ‘Cock’ but also the previous image 6. Wolfgang Tillmans ‘Stiefelknecht II’ using different medium as well as in the colours and size. Lesnik’s paintings are small which brings the viewer closer to them. This work is the last work of that room.
As the viewer walks into the next room, they are confronted with 8. Wolfgang Tillmans ‘Neckt 2’. The work is large in scale which forces the viewer to step further into the room to be viewed from a bigger distance. On the opposite wall of this piece is the piece by 14. Doron Langberg ‘Friend 2’ which has similarities to Neckt 2, both artworks are close ups of the males, and both are large in scale. The intention with putting them on the opposite walls if for people to compare them and question the differences.
Right next to Neckt 2 is 9. Nan Goldin ‘Bobby Masturbating’, both pieces depict men in a vulnerable light. The way that is achieved is very different however, Neckt 2 achieves that by objectifying the subject, taking away any characteristics or personality and almost presenting the person as a piece of meat. Nan Golding achieves that with the pose and atmosphere. Across from this photograph is the piece by 10. David Hurles ‘Iceman’. The photograph by Hurles shows a man masturbating just like Bobby Masturbating however the atmosphere is very different between them. Bobby masturbating has the air of vulnerability and sensitivity, on the other hand Iceman presents itself as cocky and daring.
Iceman is located on the same wall as the piece by 12. Robert Mapplethorpe ‘Self Portrait with Whip’. This was intentional because of the similarities in the qualities between them. Stylistically both pieces are black and white with great contrast and technique. Both depict men and have the aura of confidence and daring.
11. David Hurles ‘Untitled’ is located across from Self Portrait with Whip for the same reasons as Iceman but also because from the get-go the intention behind this exhibition was to display the work of a pornographer in the same setting and room as many renowned artists. The central position of Hurles’ works is to ensure they are seen and recognised.
Next to the Untitled work by Hurles is 13. Thomas Ruff ‘Nudes AN40’, a work that wouldn’t have existed without ‘pornographers’ like Hurles, hence, why they are located next to each other. Nudes
AN40 interacts with the piece next to it which is 14. Doron Langberg ‘Friend 2’. Both artworks depict gay men in the act of intercourse, and both artworks employ their own methods of stylised censorship. The blurriness of Nudes AN40 makes the picture less graphic and the colours and application of paint on Friends 2 do the same.
The last series of artworks are the 12. Tom of Finland ‘Motorcycle series’. It was my intention to open and close the exhibition with the artworks that made me question what is art and what is pornography and led me to researching this topic. When I stumbled upon Tom of Finland, I knew I found the perfect example of the in-between. The format of the drawings and how they tell a story was also something that led to the drawings being in that corridor.
Venue
This exhibition would be held a Dundee Contemporary Arts (DCA). DCA gallery is made up of a smaller and a larger room that can be joint together or separated. I have personally seen many exhibitions in DCA, and the flexibility of the gallery spaces is why I find the gallery to be perfect for this exhibition. The large room used for this exhibition is the perfect size as anything larger would look empty with the number of artworks I am presenting, and anything smaller would mean I would have to remove multiple pieces. This gallery space has also great accessibility which is important as to not exclude anyone.
The location is also important, Dundee has been climbing a ladder in reputation. With two Universities, the city has the potential to be known as a city for art. However, to get to that status risks need to be taken Hosting an exhibition that would most likely be controversial could lead to potential interest in the city. Scotland as it is lacks in erotic art representations, this means that all artists that want to create erotic art move to bigger places like London, New York, or Berlin. This could be an opportunity for Dundee to solidify its reputation as a place that is not afraid to discuss or display topics that don’t get the voice anywhere else in Scotland.
Intended Audience
The exhibition Edge of Obscenity; The Line Between Art and Pornography is aimed at anyone who is over 18 and has an interest in art as well as art philosophy. The minimum age restriction must be applied due to the subject matter as people under 18 may find the material upsetting. The works are displayed in a way for the viewer to use their imagination and question the art world. It is important to question societal norms and give people the freedom to explore the erotic world and in extension their sexuality without any stigma or shame attached.
Another main aim of the exhibition is to give voice and representation not only to the erotic arts but also the LGBTQ+ community. By using works that were mostly created by queer artists or depicting subjects relating to queerness my aim is to create a space where queer people can feel seen and represented LGBTQ+ community still to this day faces discrimination as is evident in countries like Russia, Brazil, or Poland. The Human Rights Watch (2022) reports that in Poland since the political party PiS came to power they have repeatedly attacked the rights of LGBTQ+ people and in 2019 the hostile attitudes led to multiple regions declaring themselves “LGBT Ideology Free”.
The exclusion of female subjects in the artworks was decided upon because of the sexualisation and objectification that women have faced in the past. Men controlled the art world and treated females as the subjects but never the artists. Tara Burk (2016) points out that in European artistic tradition, nude females were painted by male artists for the pleasure of male viewers. This is the same case for many instances of pornography, as it is a male dominated industry (Sommet and Berent 2022)
Steinem (1995) has voiced that pornography encourages violence and domination towards women, a view shared by many. Which is why it was important to not display females in a sexual light and break the norm.
Curatorial Influences
The views on sex and sexuality are ever changing. Right now, we are at a transitional period, where there are groups fighting for sex workers rights and sex work being more common than ever through the use of websites like OnlyFans, but there still is stigma attached to it (Berthe, 2018). Art should be a way to challenge stigmas and encourage artistic expressions, however it is hard to achieve that when main social media platforms like Facebook and Instagram create policies that are hard to navigate and ban accounts without good explanation. This was the case for Betty Thompkins in 2019 when the artist posted one of her paintings which led to her account being banned and only after many complaints from her followers her account was reinstated (Tager, 2019). According to Tager (2019) that was one of many cases of social media censorship.
This exhibition focuses on the erotic arts, which have many links to the LGBTQ+ community. LGBTQ+ community live in a world that is heteronormative which leads many queer artists to highlight their difference, by creating works that focus on sexual experimentation (Kilian, 2011). This in turn makes LGBTQ+ community a target. According to the Copenhagen-based human rights organisation Freemuse (2020) between January 2018 and June 2020 there have been 149 acts of artistic Violations against LGBTQ+ people. Violations like that highlight the importance of continuing to exercise artistic freedom in countries that do allow it.
Freemuse as an organisation is very important to the overall fight against any form of censorship. The organisation produces a yearly report that highlights the state of artistic freedom globally and the inequalities that occur. Freemuse also partners with National Coalition Against Censorship (NCAC) and Don’t Delete Art (DDA). Both organizations fight against censorship by giving guidance and educating, however they only operate in the USA.
A major inspiration to me was Robert Mapplethorpe’s exhibition The Perfect Moment. The documentary Mapplethorpe: Look at the Pictures, goes through the artists life and death and towards the end explains the exhibition, showing videos and images from the time it happened. There were protesters for and against the exhibition rallying outside galleries This exhibition sparked one of the biggest censorship debates (Moore, 2015)
The Play of the Unmentionable by Joseph Kosuth was an exhibition that I have found influential This exhibition opened in 1990 in the grand lobby of the Brooklyn Museum. The pieces used were exclusively taken from the museums collection and at one point or another deemed controversial. According to Robert T. Buck the director of the Brooklyn Museum this exhibition demonstrated that
museums are filled with artworks that wouldn’t pass current funding criteria (Freedberg, Kosuth and Brooklyn Museum, 1992). Kosuth used sculptures, paintings, photographs which were contrasted and compared with one another as well as quotes that Kosuth collected and reproduced around the walls of the gallery. The exhibition revolved around the female and male nude, presentation of child as nude, religious, and political controversies, and question of propriety in art (Freedberg, Kosuth and Brooklyn Museum, 1992). The Play of the Unmentionable challenged censorship by displaying works that were considered obscene in the past.
The last exhibition that I have found while doing research for this project was the Art & Porn exhibition displayed in the ARoS museum located in Denmark. Art & Porn marked the 50th anniversary of the legalisation of pornography highlighting the relationship between art and pornography (ARoS Museum, 2019). The show consisted of 40 Danish and international artists, with inclusion of major names like Jeff Koons, Sarah Lucas, and Tom of Finland. I have found this exhibition inspiring as it covered many of the topics that I have been looking at One of them, according to Michael Thouber, director of Kunsthal Charlottenborg, the impact of changing laws relating art and pornography, and social norms, as well as when social media giants such as Facebook, YouTube, and Instagram challenge liberal Danish legislation, censoring both art and pornography (ARoS Museum, 2019).
Conclusion
The realm of erotic arts is in a constant state of evolution and transformation. Amidst the change, one thing that remains, the innate nature of humans as sexual beings. From the Stone-age to ancient Greece, depictions of sex were a commonplace. The rise of Catholicism caused a shift, sex was still present but stigmatised and secretive. Later, with the invention of camera the category of pornography came into existence. However, as photography and filmography officially attained recognition as forms of art, a persistent debate emerged regarding how to discern and categorise pornography.
This debate continues to modern day, presenting a complex challenge with no singular solution to define and differentiate art from pornography. Individual experiences play a crucial role in shaping perspectives on this matter, yet it is universally acknowledged that exceptions exist. The attempts to label art as pornography are pointless
Edge of Obscenity: The Line between Art and Pornography breaks boundaries that state what art is. This exhibition challenges norms by showcasing works that do the same. Art has always been a way for artists to express themselves and it should remain so. The current climate in which galleries shy away from displaying artworks that may cause controversy, and social media platforms ban artists and remove artworks results in intrusion on artists expression. This exhibition provides visibility to all artists that struggle with censorship and encourages galleries to become free and willing to promote all different topics.
This exhibition states that art even if graphic or sexually charged should still be treated as art. As Hans Maes have pointed out “sexual experience involve the deepest corners of our selves and are among the most intense, powerful, emotional, and profound experiences we have” (2012, p. 43). Therefore, the question arises: why deprive ourselves of artworks that authentically portray these profound human experiences?
Appendices
1.1 Unsuccessful Layouts
This was my initial idea after using the model I have made to explore different layouts. After consideration I have found the gallery space too large for the pieces I have chosen. The space would have looked empty, and the intention was to create a space that feels intimate. Another problem with this layout was the fact that the works were devided into different mediums and it was my intention for them to interact with one another.
So I have decided to block off the smaller room to the left to correct the previous mistakes. This havever created new issues. I have planned it so that the visistors as soon as they enter they walk into the film room which would distrub the people in the room already. Another issue was that to leave the visitors would have to walk infront some of the works, again disturbing people that are already looking at them. There were also few issues with big works being in a space where they couldn’t be viewed from the proper distance.
This was the last design I considered before the final layout. This layout had the issue that the smaller exhibition space would be unusable. There is also the issue that the visitors would have to walk through the small room unnecessarily. This layout also did not display pink narcissus as an opening and Tom of Finland’s drawings as closing artworks.
There were many more considerations that I chose not to develop in the end for different reasons. More unsuccessful design images-
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