Porno

 

Robert Heinecken
William E. Jones
Erin M. Riley
Elin Magnusson
Paul Yore
Ellen Cantor
Marilyn Minter
Wolfgang Tillmans
Jim Herbert
Mike Bouchet
Anna Uddenberg
Andrea Fraser
Thomas Ruff
Zoe Williams
Aura Rosenberg
Bjørn Nørgaard & Lene Adler Petersen
Joan Semmel
Showa Hanako 2
Elizabeth Jaeger
Dom Barra
Vika Kirchenbauer
Carolee Thea
Kalil Haddad
Dash Snow

 

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Robert Heinecken Time (1st Group) (1969)
‘Heinecken explored this tension in his altered magazines—a sprawling group of works he produced between 1969 and 1974. In Mansmag, 1969, he employed lithography again, to print photograms of soft-core porn on top of one another in vivid color. Text, cartoons, and “real” bodies interact, their almost flickering forms approaching one another from various angles. Quickly, however, Heinecken turned to collaging magazine pages themselves. Time (First Group), 1969, for example, consisted of pages cut from the famous newsmagazine, overlaid with lithographs of cheesecake shots and reassembled in an aleatory order. Then, in Periodical #1, 1969, he simply cut up and reconfigured a group of twenty-nine magazines ranging from Glamour and Good Housekeeping to Playboy and Guns and Ammo, without adding overlays. The end product was a set of nineteen twenty-nine-page volumes, or “variants” (the artist’s preferred term), each containing a single leaf from each magazine. When we flip through these reconstituted magazines, we experience a cacophony: not only forms of advertising address geared toward different education levels and tastes but a mélange of subjects and voices, some first-person confessionals, some omniscient and ostensibly ungendered news stories.’ — Matthew Biro, Artforum

 

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William E. Jones The Fall of Communism as Seen in Gay Pornography (1998)
‘Every image in The Fall of Communism as Seen in Gay Pornography comes from gay erotic videos produced in Eastern Europe since the introduction of capitalism. The video provides a glimpse of young men responding to the pressures of an unfamiliar world, one in which money, power and sex are now connected.’ — trakt

Excerpt

 

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Erin M Riley Year of Porn (2016)
‘Erin M Riley’s woven artworks take screenshots of online pornography captured at the moment of climax and turns them into wonderfully intricate, contemporary tapestries. Year of Porn first started as a way for Erin to pass the time: “I would watch porn on my phone regularly to fall asleep. Often the next day I’d go to look for something online and the browser was still up. My inclination was always to hide it, feeling shame or embarrassment despite most people relating or not being phased if they did see,” explains Erin. “ I started screenshotting the moment of climax when I watched porn on my phone and just filing it away on my camera roll.”’ — It’s Nice That

 

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Elin Magnusson Skin (2009)
‘In a room on the seventh floor in a cold city, two people are waking up. They hug each other hard, still, it’s not enough to be able to forget where one body starts and the other ends. Neither of them has a sex or a face and they both wear more layers of skin than they ought to. Old disappointments and badly healed wounds have turned them into this. With a pair of scissors they ask each other for permission to expose, rip up and get in. Something forgotten turns into a memory that later transforms into fingers, and finally a hand. Hair begins to smell and the sweat is pouring. In close-ups about closeness we see the longing for something new. Art meets porn in a ripping horniness without censorship.’ — letterboxd

Watch an excerpt here

 

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Paul Yore Everything Is F…ed (2014)
‘Two prominent Melbourne art experts have told a court artwork that featured photographs of children’s faces superimposed on images of male bodies performing sex acts had artistic merit and doesn’t constitute pornography. Police removed seven images of children’s faces from Paul Yore’s large-scale artwork, Everything Is F…ed, at a St Kilda gallery last year after a member of the public made a complaint, Melbourne Magistrates Court heard on Monday. Mr Yore, 26, was later charged with one count each of producing and possessing child pornography, related to his work, which was installed at the Linden Centre for Contemporary Arts in May last year. Mr Yore is pleading not guilty to both charges. Mr Yore’s work, which featured in a tribute exhibition to the late Australian artist Mike Brown, also featured an image of pop star Justin Bieber’s head on a sex toy.’ — The Age

 

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Marilyn Minter Green Pink Caviar (2009)
‘Green Pink Caviar marks photographer Marilyn Minter’s first foray into video production. The artist is well-known for commingling glamour and grit in images that dissolve the boundary between fine and commercial art. Green Pink Caviar is no exception. Like her previous work, the video illustrates the moment where clarity becomes abstraction and beauty commingles with the grotesque. According to her New York gallery, Salon 94, “In Minter’s world, the body is cast as a site of aggressive desire.” Tongues covered in glittering candy attempt to push beyond the picture plane and enter the viewer’s space.’ — Cranbrook Art Museum

 

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Wolfgang Tillmans Various (1994 – 1999)
‘Wolfgang Tillmans is a very fashionable photographer. His photographs of city life, of random street moments and drop-outs posing in squats have won him huge acclaim. They are very individual and accomplished, bedraggled but oddly cheerful. Anyone wanting to see his works can head off down to Tate Britain in London, where he has been shortlisted for this year’s Turner Prize. His room consists of a few dozen photographs, casually fastened to the wall, of things in the street which caught his eye. He is a very good photographer, and it was something of a surprise to learn that he thinks it worth his while to contribute to the seedy pages of an American gay porn mag. Certainly, these photographs don’t look like art to me; they look like pornography, with their efficient and slightly alarming concentration on body parts. Whether there is anything wrong with a high-art photographer occasionally dropping his Turner-prize persona and going out to work in the lowest of genres is, however, an interesting question.’ — Philip Hensher

 

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Ellen Cantor Pinochet Porn (2011)
‘”Pinochet Porn” is a soap opera-like narrative about five children growing up during the Pinochet regime, and their subsequent maturation into adulthood. Shot on Super-8, this feature-length film is based on a 2005 hand drawn film script “Circus Lives from Hell”. The story while disclosing the intertwined lives of these five characters, also reveals its nature as a microcosm of surrounding political discord, cycles of destruction, and mounting violence. It is at once tragic and comedic. Segments of a particular history are made observable through the circumstances of the lives depicted, all obliquely revolving around the Pinochet regime in Chile. Within this story, childhood fantasy is permeated by structures of annihilation, which the characters later create in their own lives as adults.’ — EC

 

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Jim Herbert Untitled Paintings (2010)
‘English Kills’s new exhibition features fourteen dazzling, floor-to-ceiling paintings based on images of porn that artist Jim Herbert culled from the internet. Herbert, who studied with Abstract Expressionist painter Clyfford Still, says it’s mix and match with a lot of changes and edits, a figure from this added to that. “A lot is made up in process,” he reports. Thickly painted in acrylics applied directly with his fingers, Herbert’s orgasmic, painterly brio recalls Chaim Soutine and Georg Baselitz. Looking at the paintings, which feature teenagers having sex in quotidian domestic settings or en plein air, the viewer is compelled to ask whether the process, which breaks down the barrier between seeing and touching, is an erotic experience for the seventy-something artist. “No, because the narrow utility of porn’s attraction gives way to the whirling dervish of making – an entirely different kind of focus and excitement,” Herbert says. “Art making can be a sensual, playful experience – but with the possibility of a wreck on every turn. Both hands on the wheel please.”’ — Two Coats of Paint

 

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Mike Bouchet Untitled Video (2011)
‘The original artwork is a four channel projection with a running time of 10 minutes. The video was created by compositing 10,000 separate adult videos into a mosiac. Each individual video runs for 10 minutes. The original artwork can be projected up to 60ft in diameter.’ — MB

Excerpt

 

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Anna Uddenberg Pelvic Trust (2017)
‘Anna’s sculptures are gendered and highly sexualized but to me, more than problematizing the figure of women, they are destabilizing femininity. It is easy to read the bodies’ physique, as those of a hyper-femme, but it is rather the signifiers that let the viewer know that it is femininity what is being challenged. The signifiers of femininity are clear: the long acrylic nails, the long hair, the pink tones, and the hyper sexualization of certain body parts. But the materialization of sex is left to the spectator, like this we could assume the sculptures are those of hyper sexualized women but I like to think it is femininity what is being questioned.’ — Susana Vargas Cervantes

 

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Andrea Fraser Untitled (2002)
‘Performance artist Andrea Fraser has long been acclaimed as provocateur, leading a unique style of performance art coined as “institutional critique.” Perhaps her most controversial work to date is “Untitled” (2002) a videotape performance where Fraser had a 60 minute sexual encounter with a prominent art collector through a contractual agreement. The artist proposed the piece to the Friedrich Petzel Gallery and asked them to facilitate an agreement between the artist and the patron in which the patron participated in the production of contemporary art through a sexual act in a hotel room. In the end, the patron paid $20,000 for the work in the form of an unedited videotape of the performance, and one other copy went on view at the Friedrich Petzel Gallery.’ — Daily Serving

 

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Zoe Williams Fleece Taste (2015)
‘The politics of sex are central to the films of Zoe Williams. Her works touch on ideas of seduction, sensuality and transgression. Fleece Taste expands on her interest in the symbolism of classical iconography as much as ideas around fashion, tactile or reflective materials, advertising, luxury objects and the female body.’ — Kaleidoscope

 

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Aura Rosenberg The Dialectical Porn Rock (1989 – 2012)
‘Mike Ballou was making these sculptures out of porn images, and he’s also a trout fisherman. I thought, “I’ll make a real fetish! Instead of trying to run away from it, I’ll totally embrace it.” I stole some of his magazines, pasted the pictures on these rocks, covered them in resin, and put them in this trout stream. I did that, but then I looked at them and thought that there was really some food for thought there. I tried photographing them then, which were the first photographs I ever shot. I was really amazed at the way these rocks looked through the lens of a camera. It wasn’t until a while later that I started thinking about them as things in themselves, as something that I could install indoors or outdoors as a sculpture.’ — AR

 

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Thomas Ruff Nudes (2011 -> )
‘Taken from porn sites, Thomas Ruff’s ongoing series Nudes thwarts the urge to see more and more – and by so doing brings us back to our senses. I mean that literally – to the blurry imprecision of the senses. Several contradictory things go on depending on which photographs you are looking at (or even while looking at the same picture). Porn takes the universal desire to have sex and delivers it and improves on it: perfect bodies, no disease or impotence (as suffered by the porn-addicted Michael Fassbender in Steve McQueen’s film Shame), no heartbreak, no regrets, no consequences. But by blurring these images Ruff improves them in the opposite direction. They acquire the uncertainty of memory, the imprecision of unenacted fantasy, the unfocusable swirl of the unconscious, of dreams. Or nightmares in which the idyll becomes either leeringly horrible or ludicrous and laughable. Though they are arranged with only one thing in mind, the original lighting is coaxed into gorgeous subtleties; colours become nuanced, delicate, or expressionistically garish. Acts and actors become more intimate than – and more remote from – the way they appeared on screen. The photographs impart a lyricism to the source material; or, particularly in the recent work, they lay bare the ghastliness and vulgarity of an industry that aims to service desire so thoroughly, so instantly.’ — The Guardian

 

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Bjørn Nørgaard & Lene Adler Petersen The Female Christ (1970)
‘Five subsections. a) The female Christ crucified at Roskilde Fjord. b) The female Christ on the stock exchange. c) The female Christ stands in front of a cross in a backyard on Nørrebro. d) Female body with breasts and exposing bare on a lawn. e) Exhibition of Bjørn Nørgaard’s “fucking machines”. The female Christ is hung naked in this and eventually has intercourse with Nørgaard.’ — Danish Film Institute

 

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Joan Semmel Various (1971 – 1979)
‘In the early 1970s, painter Joan Semmel reacted to finding herself surrounded by images of objectified women in all sorts of media, from pornographic magazines on newsstands to old master paintings in museums. She became active in feminist art circles in New York City and took up painting erotic subjects. This body of work made visible sexual pleasure from a woman’s perspective.’ — is.edu

 

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Showa University Showa Hanako 2 (2011)
‘Love Doll Technology Applied to Dental Practice. The robots mouth is designed to be as realistic as possible, down to the way that it feels. The creators of this dental bot got help from an unusual source in order to create that realism. Orient Industry, a company that is recognized as one of Japans top makers of sex dolls, was consulted to help the research team make up realistic skin, tongue and mouth areas. The system is also equipped with a basic program for voice recognition; this allows the training dentist to carry out some basic conversation with the robot during the exam or procedure.’ — phys.org

 

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Elizabeth Jaeger Maybe We Die So The Love Doesn’t Have To (2015)
‘A young woman who makes big, bizarre figurative sculpture, Jaeger should be applauded for being risky, in bad taste, and making overt commentary about sexuality, gender, misogyny, and many other topics that most of us would rather avoid.’ — Kelly Traxter

 

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Dom Barra PiratePornoMaterial 2nd 71 (2015)
‘Basically what I do is… [appropriation] via “save as”+ screen-capturing / [remixxxing] via databending >>> [producing] && [problemizing] distribution and consumption {of porn} via dirty new media DIY practices focusing on professional and amateur players in the realm of cyber sex && pornography, the various (sub)-realities canalized&connected&&defined by communication toolz & peculiar languages influenced by the ever growing and dynamic and and shapeshifting inter(net)worked social/ political// economical/// technological scenarios.’ — Dom Barra

 

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Vika Kirchenbauer Please Relax Now (2014)
‘On screen the artist introduces herself, addressing the spectator directly and seeking their trust. Haunting and seductive in a televisual or billboard-like sense, she asks the spectator to lean back and relax, promising that she – the artist – will orchestrate a memorable event that will transform the spectator into an integral part of the art piece – or make them even become the art piece! The artist keeps provoking the spectators with sexy language before they are guided towards the “orgasm-as-event”. The piece ends with the artist exclaiming in full excitement “And now: exhibit yourself to the others!” as the screen turns white and fills the space with light.’ — vk0ms

Excerpt

 

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Carolee Thea Sabine Woman (Central Park Jogger) (1991)
Installation, chicken wire figures (life size), electrical wire, sockets and bulbs.

 

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Dash Snow Untitled (2001-2009)
‘The images of friends, lovers, and vagabonds, encountered passed out or asleep, defaced and down-and-out or conversely beautiful and calm, serve as either intimate portraits or voyeurism—the interpretation often debated about Snow’s repertoire in general. Although his Polaroids remain a major part of his artistic legacy, Snow had moved on to also work in collage, sculpture, installation, and super 8 film.’ — Art Observed

 

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Kalil Haddad My Secret Boyfriend Died in a Mass Shooting (2025)
‘My Secret Boyfriend is a doomed love story told through distorted stills from an erotic photoshoot. It begins with title cards—his preferred mode of exposition—typeset over crimson storm clouds, which set the scene of a teenager plagued by visions of the future. On a rainy morning, with parents out of town, his boyfriend comes to visit. These images—make-outs and handjobs on the couch, fellatio in the shower, tender intercourse on the bedsheets—are reframed, remixed, and recontextualized by Haddad’s virtual camera, with a dreamy score morphing from sexy slo-mo beats to an ethereal, piano-laced soundscape as an impending tragedy draws closer.

‘Screams and gunshots play atop an image of the two embracing at arms-length, strobing from black-and-white to deep red. “That night, as he lay in dreams between my arms, I decided I would never speak to him again,” hovers over the screen. Blood seeps through blurred, shaky footage of wounded bodies and first responders, ending on a freeze-frame of a man at the camera operator’s feet. This abstract portrayal of the preemptive measures the narrator takes to shield himself from a portended loss raises questions about the inveterate fear that courses through the elations of queer romance. We are inundated with narratives of hateful violence, taught to believe that we and our loved ones might be destined for such a fate; the narrator’s father also had visions, but they dissipated when he settled down with a wife.’

 

 

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p.s. Hey. ** adrian, Hey, ciao to you. February, cool, just keep me informed when the time is right. ** Steeqhen, Figured so. Nord VPN, thanks, I’ll look into it. How is the Who shop? Oh, gosh, I don’t actually believe I’ve read your dissertation yet, forgetful me. But I’ll nail it down and do that. I wouldn’t worry, I’m sure it’s wonderful. ** jay, Haha, yeah, the drinking corpse juice thing is a major detail, I think too. I was just having dinner with a friend last night who was flabbergasted and kind of hostile about my Proust resistance, so there you go. Fuck consensus! They say it’ll be a teeny bit warmer here today, and I think I believe them. Boy, the snow sure was pretty though. ** Charalampos, Well, I fixed the blog thing thanks to the tip of a commenter here, but if you tried to see it before about 5 pm yesterday, you could’ve. ** kenley, Hi, henley! Welcome, and thank you a lot for coming in here. Strangely, a friend, the writer Tosh Berman, who comments here sometimes, actually talked to Elisa Lam on the day she disappeared. He was shopping at this bookstore called The Last Bookstore, which is just down the street from the hotel, and she came in and walked up to him and, according to him, started talking randomly and incoherently about something he didn’t understand at length and then turned and fled the store. So I guess she was going through something. Lafcadio Hearn … no, I don’t think I’ve read him. Do you have a suggestion as to where to start with him, or will it be clear once I look him up? Thanks! Obviously feel more than free to make yourself at home here as much as you would like. ** Laura, If memory serves my favorite books about Rimbaud were Graham Robb’s bio and Alain Borer’s book about his Abyssinia period. Oh, I don’t really want to get into what some writers got wrong about me or my work. I don’t care if they mischaracterise my work because there’s nothing I can do about that, I just don’t like when people write things about me personally that aren’t true. But I don’t want to call them up. There’s no value therein. Congrats on your post-med victory. How are you hanging at this point? ** Connie, Hi. That hotel famously had very bad vibes. I can’t remember its history clearly, but all kinds of fucked up stuff happened there over the decades. I think the hotel is all gentrified and remodelled now, but I’m not 100% sure of that. I seem to have very poor radar when it comes to locational bad vibes. Like when we were shooting our previous film ‘Permanent Green Light’, there was one location, an abandoned boathouse, where we shot one scene — where Roman buys the explosives, if you’ve seen it — and the place completely freaked out the cast and crew to the point that, between every shot, everyone had to go outside and chill for a while before we shot the next take. And I didn’t feel anything. Yay about your nice mom’s generosity. Yes, keep me informed as the time passes. Great! Congrats! I’ll look for wonderfulness today, and you too, yeah? ** _Black_Acrylic, I’ve been in those rabbit holes. The Elisa Lam thing is genuinely unsolvable, which is something special. ** Uday, ‘Werckmeister Harmonies’ is my favorite Tarr. That quotation’s a beauty. Huh, I’ll try texting in an ejaculatory rhythm and see what happens. Who should I text accordingly, I wonder. Hm. ** Dev, Oh, yes, I just searched for king cake, and it is certainly different, looking at least. It’s way too flagrantly colorful to be popular here in France, I think. But it does seem to also have a secret baked-in prize. Interesting. Luck with the French immersion school. That would be cool. No, no Mardi Gras parade here. The French don’t tend to go that wild in public, unless they’re rioting, I guess. They do do that. ** KMB, Hi! Thanks a lot. I followed your instruction, and, yes, you were precisely right about how I accidentally managed to darken the blog for a day. Slip of my finger, I guess. But now it’s right again. Really, thanks a bunch. How are you? ** Brendan, Hi, B! I know, Tarr, what a loss, even though he’d retired. Right, you’re near the Cecil. Am I right that it’s been gentrified, or is it still a run down spook house? ** Carsten, Mm, I don’t know. I guess it can’t be squared. My anarchism has never been successfully challenged by its contextual incongruity. Compromised in ways, sure, no choice there. I know of that what you speak about subterranean LA. It’s still there, boxed in but fully extant. One of the reasons I love the place and why pretty much every detective novel of note is set there and why Lynch is Lynch, etc. ** Lucas, Thanks. A lot of syllables there, but I kind of like that. You could use the really low dosage patch. It can’t hurt, I don’t think? Agreed about the power of the Lam case, and beautifully put. You’re such a good writer, pal. ** HaRpEr //, Yeah, I was just saying that it can’t be a coincidence that LA is detective novel and serial killer central. The amount of negative space in LA is so inspiring. I mean, almost all of my books are set there, and that’s not just because I lived there. Unfortunately, your doctor is probably right, but ugh. Any upswinging yet? ** Steve, Yesterday was completely horrible, and I have little doubt that today will be even more so. William Tyler … not sure I know his work. Not really apropos, but I’m about to check out that album by the guitarist who has transcribed Autechre’s work into solo guitar. Very curious. Yesterday I went down a little Shuggie Otis rabbit hole. Such interesting work, the early 70s stuff. ** horatio, Hi! I’m feeling close to normal again, thanks. Unlike you, shit, so sorry. I hope it stays just a briefly annoying cold. Guilty pleasures … hm, I don’t think I feel guilty for liking anything even if other people think what I like is dumb. I feel like I can always make an intellectual case for it. Although that’s not to say the cases I could make would be convincing to anyone. I usually have about a week to a week and a half’s worth of future blog posts ready to go, so, if I die today, I guess the blog could eerily continue for a short time, although no one knows the password of my blog, so never mind. Feel better instantly! ** darbz (⊙ _ ⊙ ), Hey, bud. I think that’s an excellent bio. It tells the tale factually and is compelling to speculate about. I think you nailed it. Send it off into the ether, I say. This, if that link works, are the falafels in question. xo. ** Okay. Utterly self-explanatory post for you today. See you tomorrow.