Art and Obscenity

Nonfiction, Art & Architecture, General Art, Criticism, Social & Cultural Studies, Social Science
Cover of the book Art and Obscenity by Kerstin Mey, Bloomsbury Publishing
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Author: Kerstin Mey ISBN: 9780857732781
Publisher: Bloomsbury Publishing Publication: November 22, 2006
Imprint: I.B. Tauris Language: English
Author: Kerstin Mey
ISBN: 9780857732781
Publisher: Bloomsbury Publishing
Publication: November 22, 2006
Imprint: I.B. Tauris
Language: English

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.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

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.

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