My Very 1st KCAI Term Paper

December 2, 2010 at 4:44 am | Posted in Uncategorized | 3 Comments
Tags: "The Exhibition of Sexual Passion and the Human Race", art gallery, Édouard-Henri Avril, black-figure painting, Bruno Gmünder, Circle Lydos, City of Paris Museum of Fine Arts, coffee table book, curator, curatorial proposal, De Figuris Veneris: A Manual of Classical Erotica, Drew Linne, Drew Matthew Francis Linne, erotic art, erotica, French, Friedrich Karl Forberg, gay, German, graphite, graphite on paper, Greek, Gustave Courbet, Japanese, Kansas City Art Institute, Katsushika Hokusai, Khalil Bey, krater, lesbian, love, oil painting, passion, Paul Avril, photography, photorealism, Players, Rick Day, Rick Day Photography, sex, term paper, The Chicago Cultural Center, The National Archaeological Museum of Spain, Tom of Finland, Touko Laaksonen, vessel painting, Western Thought 2, woodblock print

Wow, it sure has been a while since I did a blog entry. But the end of my first semester at the Kansas City Art Institute seems like a great reason to do a new one! Anyway, this is the final version of my term paper that I just turned in for my Western Thought 2 class. We had to choose a famous philosopher’s quote from a list she gave us, use it to develop a theme for an art exhibition, then choose six works of art to support my theme, and then explain how it all comes together and why I want to curate the show. I’ll post an update when I find out how well I did on it, but for now: I hope you enjoy reading it as much as I enjoyed writing it!

…

The Exhibition of Sexual Passion

and the Human Race

A Curatorial Proposal by Drew Matthew Francis Linne

 

Throughout history the human race has been known for its passion, at the levels of both society as a whole and as individuals within everyday activities. Roland Barthes, a twentieth century philosopher, once said, “What the public wants is the image of passion, not passion itself.” Passion is the word used for an intense emotion, something we are all guilty of, and which can always take form in an infinite number of ways.  It is a feeling that is brought upon by a desire or love of something, whether it be a passion for something like carpentry or quantum physics, or the love of adventure or the gentle touch of another soul.

The love of a human being is perhaps the most valued and most powerful of all emotions, but is it really something that every person wants or is capable of feeling?  Roland Barthes suggests that is indeed the case.  Even if we are capable, it seems apparent that as the years pass we continue to rely more on the presence of pornography, written erotica as well as arousing works of art for bringing upon sexual pleasure rather than one’s own lover. The enjoyment, and even the production of pornography has been frowned upon by “civilized” society since its conception. Now, because pornography is so readily available at the touch of a finger through the wonder that is the internet, I think people often forget that nudity and sex were once considered to be important aspects of both religion and art.

Artists around the world have been producing erotic artwork for thousands of years to satisfy the sexual desires of the public. This image of passion as a form of art would even be commissioned by wealthy government figures; who, although probably unaware, occasionally were chosen as the subjects. The erotic art genre is not lost in the contemporary world, but it is constantly going underground, becoming something that one would have to search out if the want arose, and then resurfacing again some years later when the world is more tolerant. Only in the past five decades or so has the genre grown more prominent again. Whether society acknowledges it or not, this change is more important than it has ever been. Because of the rapidly progressing advancement of our technology and the ease of keeping certain parts of one’s life private, I am not so sure that the genre of erotic art will ever go underground again.

As of yet, it is unclear whether or not the uprising of erotica is a progression or a regression. Not one individual has the knowledge or the right to say so, either way. But our growing need for sexual release seems to be tearing some of us apart. To me, it is not that the public does not want passion. What the public does want is what they do not have already. That is why erotica is so seductive. It is so attainable and yet so out of reach at the same time. Society’s desire for this sexual release is so ever-present in the media nowadays, for instance, in advertising, television shows, reality TV, and movies, it would be nearly impossible to avoid or deny, even if we wanted to. There is an importance in thinking about this because it is all around us. And like it or not, it is here to stay.

To aid in the thought process on this issue, I have selected and organized a series of erotic art that is to be shown at the Chicago Cultural Center. The Cultural Center is the perfect place to have a show of this kind because it is a free venue and accessible to anyone and everyone who wants to see it. Furthermore, the show will run for the whole month of July 2011, because not only can it be visited by Chicago residents, but tourists visiting the city will want to see the Cultural Center because it is free and easy to get to since it is in the downtown area. When a visitor walks into the first floor gallery, the first thing they will come upon is an ancient Greek krater by the potter and painter, Circle Lydos. It was painted with the images of mythical satyrs displaying their large, erect penises, and must be displayed behind a glass case in order to protect it from damaging fingers. Straight ahead on the far wall is the next piece of artwork, an erotic Japanese woodblock print by Katsushika Hokusai, with the other four artworks mounted along the gallery wall in a clockwise direction. Next is an oil painting of two women in bed by Gustave Courbet; then an oil painting of two men, this time by Édouard-Henri Avril; a graphite drawing of gay lovers by the artist known as Tom of Finland; and finally, a photograph of a man taken by Rick Day. Each piece I have chosen has its own place in the history of erotic art, and will hopefully help us to learn about our own fascination with it.

…

1. Satyrs and a Maenad, Circle Lydos, 560-550 BCE, black figure painting on clay, 54cm wide, The National Archaeological Museum of Spain

The Greek vessel painting of Satyrs and a Maenad on one side of the krater is one of the earliest depictions of sexual acts, from the period of 560-550 BCE. Lydos’ image shows two mythical creatures called satyrs, which are woodland gods with a horse’s ears and tail. The satyr in the middle of the painting is shown masturbating his inhumanly large penis with both hands, while the other satyr is simply running with his erect penis flaunting ahead of him. They both appear to be chasing after the maenad, a type of woman who is associated with the Greek god of wine and merriment, Bacchus. All of this imagery has symbolism dealing with sex. The satyr, for one, was also a term used in reference to a man who has strong sexual desires. It might even be so that the mere presence of a maenad has thrown them into an uncontrollable sexual frenzy. However, Lydos did not always paint depictions of sexual scenarios. He was a prominent artist at his time who usually dealt with images of rituals and processions. Furthermore it is unclear as to the exact purpose of this particular vase painting. Most likely it could have been an educational object, a way of learning about certain creatures that were believed to exist, and perhaps that one was even encouraged to avoid. Usually a satyr is a mischievous character, but even so, Lydos’ version of the satyr may have influenced artists in later centuries to begin what is now known as erotica.

…

2. Fukujuso (The Adonis Plant), Katsushika Hokusai, 1815, woodblock print, 25.8 x 39.8cm, private collection

Nineteenth century Japanese artist Katsushika Hokusai’s wood block print is another early form of erotica and is probably one of the first to employ the use of text. His print is in the same style as most Japanese prints, the figures being very simply rendered by a thin black outline and no shading, the hair of the man and the woman is in fine detail as usual, and the fabric of their robes has a colorful and precise two-dimensional pattern. The one striking difference is the explicit portrayal of what is most definitely a very passionate love-making session between a man and a woman. Nowadays text is very common in erotica since it has gone far beyond single framed images and ventured into a more elaborate story-telling form such as comic books and even full length novels. But centuries ago Western artists were not so straight-forward in revealing the underlying story to a piece of art, and the viewer usually had to make up his own mind as to the background of a particular drawing or painting. On the other hand, Chinese and Japanese artists see calligraphy as a form of art in itself, requiring rigid discipline and practice to get it right; and they often incorporated text into paintings and prints for the record of important historical events, so it seems all too likely that the idea of telling fiction with the combination of calligraphy and pictures started in East Asia. A translation of the text in The Adonis Plant reads like this: the man is saying to his lover, “This is the first time we’ve been able to really spend time together. My feelings have been building up for so long, I can barely contain myself.” This to which the woman replies, “I’ve thought about being with you a lot as well, and since I couldn’t bear it any longer I’ve finally managed to arrange it. Promise you’ll never abandon me.” In Japan, which is a typically conservative society, this type of art would be seen as something scandalous, especially because the text makes it clear that their is something forbidden about the love between these two individuals in the print. Furthermore, this idea reinforces the fact that erotica is often looked down upon because of negative connotations throughout our history.

…

3. Le Sommeil’ (Sleep), Gustave Courbet, 1866, commissioned by Khalil Bey, oil painting, 135 x 200cm, City of Paris Museum of Fine Arts

The oil painting entitled Sleep, otherwise known as Les Dormeuses (The Sleepers), was painted by the revolutionary French artist, Gustave Courbet, in 1866 after being commissioned by an Islamic diplomat from Egypt named Khalil Bey. Unlike The Adonis Plant, Courbet’s paintings were less obvious in their subject matter, requiring the viewer to make inferences about its underlying meaning or story. At first glance, the relationship between the two women in the painting may appear to be innocent, but if one takes the time to really study the way they are lying with limbs intertwined, perhaps with what remains of a final embrace just before falling asleep; or the relaxed but intense, intimate expressions on their dreaming faces, it becomes clear that there must be more between these two women than what first meets the eye. Their skin is expertly painted as if it is actually soft to the touch, their naked bodies with an attractive layer of body fat. This was the ideal form of a woman in those times, for it meant that she was well-fed due to her status in the wealthy, upper class of society. This idea of wealth is shown by the lavishly decorated furniture, topped with delicately beautiful vases and a goblet, as well as an attractive and probably expensive bouquet of flowers in the corner behind a bed that is made in lush, comfortable looking sheets and blankets. There is even an undone necklace of pearls laying forgotten beneath the arm of the woman in the foreground. Although immensely different from the previous two artworks, and certainly more tame, there is still a definite sense of eroticism between these female lovers. Perhaps the fact that the eroticism is more of an undertone is simply evidence of a progression that 19th century realist painters like Courbet were striving for.

…

4. Hadrian and Antinous in Egypt, Édouard-Henri Avril (Paul Avril), 1906, oil painting, 1 of 20 illustrations for De Figuris Veneris: A Manual of Classical Erotica by Friedrich Karl Forberg

Forty years after Courbet painted The Sleepers, another French painter by the name of Édouard-Henri Avril became well known as an illustrator of written erotica, under the pseudonym of Paul Avril. Late in his career he illustrated an educational book of historic sexual practices and positions (much like the still popular, ancient Sanskrit text, Kama Sutra). Titled, De Figuris Veneris, or On the Figures of Venus, it was written by the German classicist, Friedrich Karl Forberg. Avril’s illustrations continued the growing trend of pairing art alongside text, but his work is somewhat more unique because instead of accompanying stories, it was almost as if he was illustrating for a history text book. For example, Hadrian was an emperor of ancient Rome, and it was widely accepted in that time for a grown man to have sexual affairs with young people of both sexes; but it was a young man named Antinous who was thought to be most loved by Hadrian. Their liaison lasted right up until Antinous’ sudden, early and mysterious death, after which he was declared a deity by Emperor Hadrian. Although the act of sex between two men was considered normal in ancient Rome, the mere existence of homosexuality is still wildly controversial in contemporary society. Therefore, Avril’s contribution to erotic art is by far a significant progression for the early years of the 20th century. He smartly chose to protect his personal life from such dangers of controversy and criticism by using a pseudonym when he illustrated De Figuris Veneris. But the simple fact that he took the risk of painting scenes of graphic sexual intercourse, which would be published in copies––and even in five different languages––for anyone to see is still a major step forward in the world of erotica at that time.

…

5. Untitled, Tom of Finland (Touko Laaksonen), 1975, graphite on paper, private collection of Dr. Stefan Thürmer

The man known as Tom of Finland, born Touko Laaksonen, was a renowned artist in the field of gay erotica and fetish art during the mid to late 20th century. His style was consistent throughout his career with the theme of the masculine gay man, who were always drawn very stylistically. For example, as seen in this graphite drawing from 1975, Tom draws his men with attractively muscular torsos, perfectly round buttocks, ruggedly handsome faces, and always endowed with impossibly enormous penises that can even be seen beneath the clothing in some of his tamer illustrations. Though the piece I have selected for this exhibition is nowhere near the same level as some of his most explicit scenes, it still serves its purpose well as a representation of his work. When looking at Tom’s artwork, one can easily read into the underlying emotions of even his most subtle drawings. The way he communicates the love, lust, and even the fear of his creations is impressive; his skills with photorealism, which he developed a liking for much later in his career, only emphasized his technical expertise while still following his strict stylistic code. For example, each highlight and shadow on the bare skin of the two men in my chosen piece is so realistic and believable that it could be mistaken for a photograph at first glance. Tom of Finland used his superior skills to influence and broaden the contemporary world of erotica into fully accepting the inclusion of gay culture into its realm.

…

6. Players, Rick Day, 2008, collection of photography arranged as a coffee table book, published by Bruno Gmünder

In 1994, Rick Day entered through the doorway that was opened by Tom of Finland when he began his unplanned and successful career as a photographer. After purchasing his very first camera at the age of 28, Day started his career in the field of fashion photography. His success in the industry led to his photos’ publications in various magazines and other media. Once he had gained the freedom of choice, which is available to anyone who has enough money, Day moved on to following his true passion of photographing the toned, muscular bodies of athletes, super models, and even porn stars. His direction, capture and portrayal of what is thought of as the ideal male form in contemporary society is made to look effortless by Day, whose photos always have an air of superiority over his peers and competitors. With the omission of his fashion work, Day’s photographs typically feature either completely or partially nude men, always with impressively ripped, athletic physiques. One of the primary aspects of Day’s photography is his expert usage of high-contrast lighting techniques to outline and emphasize each and every muscle of his subjects. No matter how tame or how explicit the photo, one cannot deny the beauty of his transformation of an ordinary, flawed human being into an object of perfection and sexual desire. In his first coffee table book, Players, which was published by Bruno Gmünder in 2008, he ties over 200 of his photos together with a very simple theme. Tom of Finland, whose work always focused on the fetish of men in uniform, may have influenced Day’s theme of the fetishistic aspect of sports and athletes for Players. The photos in his book range from partially undressed models to images of full frontal nudity. All of Day’s subjects in the book are either real life athletes, or models and gay porn stars playing the role of an athlete. Furthermore, because Rick Day produces photos of living, breathing men for the effect of lust and sexual stimulation, he is bringing the modern erotica even closer to reality than it has ever been. This is such an important move, because finally the subject of sex is so openly present in our society that it can no longer be ignored or denied. I, for one, have the hope that this movement will aid people in learning to open up their minds and accept erotica as a part of our ever-changing world culture.

…

Curator Biography

My name is Drew Matthew Francis Linne. I was born on July 1st, 1991 and was raised in Oak Park, Illinois; the first suburb immediately beyond the Western edge of Chicago. I was brought up by both my parents to be patient, tolerant, and over-all accepting of others and their differences, and I had a very happy childhood to thank them for. When I think about it, I realized I was gay when I was in sixth grade, but I did not have the courage or the motivation to come out of the closet until I was 17 and in my last year at Oak Park and River Forest High School. Once I got the courage to accept who I really was, I was finally able to be free, and I was happier than I had ever been. After I graduated I spent a year attending Triton Community College, six miles from home. Finally, in the fall of 2010 I was able to enroll at the Kansas City Art Institute, so I moved to Missouri and have since been living happily in a dormitory with my two roommates. The more time I spend at this school, the more I learn about all the diverse aspects and potential art has that I used to overlook. Now I am interested in curating this show because I believe erotica is a significant part of the gay community, and an important piece in the history of art and humanity as a whole.

…

The preceding text is copyrighted by me, Drew Francis Linne. All artwork referenced in this paper is copyrighted by the artist or publisher, and is owned by the aforementioned museums, art collectors, or artists. I do not own or claim to own any of the artwork above.