Chantelle
This is part of my entry for the Utata 2012 Summer Big Project: Just One Thing. Go take a look and check out the other works. Great stuff.
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In spite of the evident handling of the images, the preordained codes of sexual titillation remain virtually uneffaced. Merely through recontextualization, Repeat Offender elicits a spiral of questions and problems: Can the stamp of the artist, the assurance of “artistic merit,” circumvent the problems raised by the use of soft-core pornogrpahy? How de we respond (indeed, how do we respond differently as women and men?) to nudes in the art magazine, in the pornographic magazine, or in the shameless hybrid, the technical photo magazine, such as Photo or Zoom? What differentiates Penthouse's Repeat Offender from Snow's (Photo Communique's) Repeat Offender?
— Monika Gagnon, Ruptures in the Landscape of the Photograph
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Chantelle
This is part of my entry for the Utata 2012 Summer Big Project: Just One Thing. Go take a look and check out the other works. Great stuff.
---
In spite of the evident handling of the images, the preordained codes of sexual titillation remain virtually uneffaced. Merely through recontextualization, Repeat Offender elicits a spiral of questions and problems: Can the stamp of the artist, the assurance of “artistic merit,” circumvent the problems raised by the use of soft-core pornogrpahy? How de we respond (indeed, how do we respond differently as women and men?) to nudes in the art magazine, in the pornographic magazine, or in the shameless hybrid, the technical photo magazine, such as Photo or Zoom? What differentiates Penthouse's Repeat Offender from Snow's (Photo Communique's) Repeat Offender?
— Monika Gagnon, Ruptures in the Landscape of the Photograph
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