Erotica Porn Mag Magazine - Research + Brief
THEMES
- Men in Sub Positions
- Line between Art and Porn
- Female Empowerment
Discussion
- google drive
- complete free reign
- deadline early may
- name??
gimps, femdom, gruesome
swallow good example of what she likes
don't mind size, glossy magazine aesthetic
porn magazine
what's the difference between art and porn?
intense german erotica porn mag
dark theme
TO DO
- make google drive
- make research mood board on publications
- have her put films, documentaries and research inspo on gimps and horror aesthetic
- remake timetable
-----------------------------------------------------------------------------------------------------------------------
WHAT IS THE LINE BETWEEN ART AND PORN?
What’s the Line between Art and Pornography? - Artsy
“It’s not pornographic because it’s not meant to be arousing,” she tells Artsy. “But there’s a pornographic element in how it’s explicit. Also what you’re left with is a sense of estrangement, not a sense of connectedness.” Pornography, in her mind, is “never about warmth or emotional proximity.”
2012 paper “Who Says Pornography Can’t Be Art?
1 Pornography is sexually explicit, while art is not. “Art reveals in concealing, whereas pornography conceals in revealing,”
2 Pornography is exploitative, vulgar, immoral, and ultimately harmful, where art is not.
3 Pornography is one-dimensional, sans artistic merit, as “the pornographer’s sole intent is sexual arousal.” Pornography is an industry, its products “mass-produced commodities.” This neglects, of course, the commercial nature of the art world and the fact that some pornography has a more complex agenda.
4 consuming pornography and of appreciating art indicates that there is a fundamental difference in how we are meant to engage with both kinds of representation.
EXAMPLE
Fuses: she and her partner have sex as their cat watches.
In quick, shadowy, color-saturated shots, genitalia and copulating bodies flicker across the screen, interspersed with images of a window, the trees outside, and the cat’s silhouette.
The artist controls her own representation and pleasure, resisting objectification.
EXAMPLE
Elin Magnusson
Skin: two figures in nude bodysuits start making out, cutting away parts of their costumes as they grow more aroused.
“art meets porn,” categories need not be mutually exclusive.
The artist combines larger ideas about intimacy, self-revelation, and the body into a work that, ultimately, still ends with explicit sex.
Exploring the Line Between Art and Pornography - Cultivating Culture
“art” and “pornography” are subjective terms, they evade any attempts to define them. It’s like the old saying goes, “Beauty is in the eye of the beholder.” So too is, “Pornography in the groin of the beholder.”
- importance placed on intent of output on whether it is viewed as porn or art
1973 Miller v. California guidelines
a) The average person, applying contemporary community standards, would find that the work, taken as a whole, appeals to the prurient interest (exciting lustful thoughts)
b) The work depicts or describes, in a patently offensive way, sexual conduct specifically defined by the applicable state law
c) The work, taken as a whole, lacks serious literary, artistic, political, or scientific value
The Line Between Porn And Art (theodysseyonline.com)
porn industry. They photograph and film objectified men and women in a sexual manner in order to arouse a person. That is the one of the differences between porn and art—the intention of the artist.
Pornography, by definition, is an image that is intended to stimulate sexual feelings
REFLECTION
> How can the design of the magazine present this question of the line between art and porn?
> The photographs will play an essential part in presenting this to the viewer, but it should be made clear as a theme through the treatment of these visuals and the type alongside it
> The intent of the artist and designer on whether the magazine is viewed as art or porn means there could be a shift in the magazine between these two ideas, as a way of making the viewer recognise the power is down to us in how the imagery is received
> First half more art, second half more sexual? Colours, type and treatment all ways of creating art vs sex tone
> Cover could also present this with distinction between the front and the back
> Viewer can choose between which side they want to take?
> Two books could force the viewer to recognise the distinction between the two different presentations, whereas one book may make them feel too unified.
> This allows there to be a collection which can have special treatment, like a belly band or inside a velvet box?
------------------------------------------------------------------------------------------------------------------------
Debauched: Witchery and Devilry Vol. 1 (1st Spell)
Pornceptual is the magazine championing X-rated art
POV: The Fetish Issue:
The notion of fetish has come a long way. Anthropology, Marxism, psychoanalysis, feminism. . . . Giorgio Agamben summarizes the history of fetishism with the following: “The map of the journeys of fetishism draws the system of rules that codify a repression of a specific kind for which the theorists on liberation have not yet cared: the repression on objects, by setting the norms of their use.” Framed simply, what is of interest to me regarding fetishes is that they allow us to question the production and circulation of the norms, as well as their transgressions.
What about sexuality? Sexual fetishes are still understood as exceptions, as distortions to the sexual rule. I was wondering if it would not be easier to ask if it is possible to define what sexual normality is. If we follow Haverlock Ellis’ conception of fetishes as pertaining to three categories such as those related to the body, to inanimate objects or to acts and attitudes, one can start to wonder: wouldn’t fetishism be more common and richer than we may think? In our relation to images, sounds (think of ASMR), our fluids (cyprine, sperm, urine . . .), language and sensations (pain)? Fetishism thus crystallizes in a variety of ways. The definition of the verb fetishizing describes it as the attribution of existence and a quasi-magical power to someone or something rather banal. But in this attribution of power, the relation to fetishism is paradoxical. The origin of its power does not lie in whatever turns us on, rather in the relation we maintain with it and in the power we decide to give it.
Fetishes emerge in the fetishist’s relation to the world. But at the same time — and this is where fetishism can surprise us — it is through its sacred nature and its power that it transforms the creator into a creature: into a fetishist. Hence, it is not the foot or the shoe that creates a fetish, rather the fetishist who enacts them through their own perception. Also, one had to wait for the balloon to be invented to become a looner, or the invention of camming for certain kinds of financial domination. Thus, fetishism is contextual.
It emerges within the history of individuals, groups, and societies in which it is inscribed and through technological developments. Our fetishes have a really social and cultural dimension.
|
BA (Hons.) Graphic Design |
|
LEVEL |
6 |
||||
|
STUDIO BRIEF |
|
|
|||||
|
FEMDOM Photography Magazine |
Module Brief
|
OUGD603 Extended Practice
|
|||||
|
Semester
|
2
|
Outcomes Assessed
|
|
Module Tutors
|
Amber Smith |
||
|
|
|
|
|
||||
|
Brief |
|
Magazine exploring FEMDOM, fetishes and an investigation in the line
between art and pornography.
|
|
Background/Considerations |
|
Content Considerations Fetishes allow us to question the production and circulation of the norms, as well as their transgressions. The origin of the power of fetishism does not lie in whatever turns us on, rather in the relation we maintain with it and in the power we decide to give it. Similarly, the line between art and pornography is determined by the power of the artist, the power in which they choose the intent behind the output, whether it is to be appreciated as art, or consumed as pornography. This division between art and pornography should be presented clearly to the viewer by the designer, through treatment of the photographs and production choices. For example, the magazine could be divided into two magazines, each with a different treatment from the respective intents of art and porn. The cover should act as a barrier to the taboo content, adopting a direction of simplicity and physical processes such as embossing. The content aesthetic should take inspiration from vintage German erotica magazines, while pursuing an experimental fresh approach, with a predominantly dark aesthetic. The magazine will be a visual exploration of fetishism through the scope of FEMDOM and how this fetish subverts the male-female power positions typical in porn. The photography collection provided should take prominence in the story telling of the subject, but should interact with other elements such as type, colour, textures and graphics. Research should be
done on FEMDOM and fetishes, and additionally on existing publications that
explore fetishism and sex. Creative freedom is given to the designer, but large decisions and ideas should be exchanged with the photographer to ensure the end product is in line with their vision. Background Considerations The target audience is those who enjoy photography and explorations into fetishes and sex. They are over 18 years old and generally engage with artistic publications and prints or have a strong interest in the subjects being visually investigated. |
|
Mandatory Requirements |
Deliverables |
|
1 OUGD603 blogs documenting development 2 Design Boards 3 Final outcomes 4 Brief evaluation 5 Timetable
|
1 Printed Magazine |
|
Studio Deadline |
Module Deadline |
|
16/04/2021 |
05/05/2021
|
Comments
Post a Comment