A regiment of women warriors strides across the battlefield of German culture - on the stage, in the opera house, on the page, and in paintings and prints. These warriors are re-imaginings by men of figures such as the Amazons, the Valkyries, and the biblical killer Judith. They are transgressive and therefore frightening figures who leave their proper female sphere and have to be made safe by being killed, deflowered, or both. This has produced some compelling works of Western culture - Cranach's and Klimt's paintings of Judith, Schiller's Joan of Arc, Hebbel's Judith, Wagner's Brunnhilde, Fritz Lang's Brunhild. Nowadays, representations of the woman warrior are used as a way of thinking about the woman terrorist. Women writers only engage with these imaginings at the end of the 19th century, but from the late 18th century on they begin to imagine fictional cross-dressers going to war in a realistic setting and thus think the unthinkable. What are the roots of these imaginings? And how are they related to Freud's ideas about women's sexuality?

Dedicated to the topics of eroticism and sexuality in the visual production of the medieval and early modern Muslim world, this volume sheds light on the diverse socio-cultural milieus of erotic images, on the range of motivations that determined their production, and on the responses generated by their circulation. The articles revise what has been accepted as a truism in existing literature-that erotic motifs in the Islamic visual arts should be read metaphorically-offering, as an alternative, rigorous contextual and cultural analyses. Among the subjects discussed are male and female figures as sexualized objects; the spiritual dimensions of eroticism; licit versus illicit sexual practices; and the exotic and erotic 'others' as a source of sensual delight. As the first systematic study on these themes in the field of Islamic art history, this volume fills a considerable gap and contributes to the lively debates on the nature and function of erotic and sexual images that have featured prominently in broader art-historical discussions in recent decades.

A unique collective portrait of the United Kingdom during the national lockdown of 2020. Introduction by The Duchess of Cambridge. Text by Lemn Sissay MBE. Sunday Times Bestseller. 'Every bookcase should have this book' 'Beautifully heart-warming' and 'a keepsake for years to come'. Focused on three key themes - Helpers and Heroes, Your New Normal and Acts of Kindness, this book presents a unique portrait of the UK during the 2020 lockdown, through 100 community photographs. The net proceeds from the sale of the book will be equally split to support the work of the National Portrait Gallery and Mind, the mental health charity (registered 219830) Spearheaded by The Duchess of Cambridge, Patron of the National Portrait Gallery, Hold Still was an ambitious community project to create a unique collective portrait of the UK during lockdown. People of all ages were invited to submit a photographic portrait, taken in a six-week period during May and June 2020, focussed on three core themes - Helpers and Heroes, Your New Normal and Acts of Kindness. From these, a panel of judges selected 100 portraits, assessing the images on the emotions and experiences they conveyed. Featured here in this publication, the final 100 images present a unique and highly personal record of this extraordinary period in our history of people of all ages from across the nation. From virtual birthday parties, handmade rainbows and community clapping to brave NHS staff, resilient keyworkers and people dealing with illness, isolation and loss. The images convey humour and grief, creativity and kindness, tragedy and hope - expressing and exploring both our shared and individual experiences. Presenting a true portrait of our nation in 2020, this publication includes a foreword by The Duchess of Cambridge, each image is accompanied by the story behind the picture told through the words of the entrants, and further works show the nationwide outdoor exhibition of Hold Still.

Reconciling Art and Mothering contributes a chorus of new voices to the burgeoning body of scholarship on art and the maternal and, for the first time, focuses exclusively on maternal representations and experiences within visual art throughout the world. This innovative essay collection joins the voices of practicing artists with those of art historians, acknowledging the fluidity of those categories. The twenty-five essays of Reconciling Art and Mothering are grouped into two sections, the first written by art historians and the second by artists. Art historians reflect on the work of artists addressing motherhood-including Marguerite Gerard, Chana Orloff, and Renee Cox-from the early nineteenth century to the present day. Contributions by contemporary artist-mothers, such as Gail Rebhan, Denise Ferris, and Myrel Chernick, point to the influence of past generations of artist-mothers, to the inspiration found in the work of maternally minded literary and cultural theorists, and to attempts to broaden definitions of maternity. Working against a hegemonic construction of motherhood, the contributors discuss complex and diverse feminist mothering experiences, from maternal ambivalence to queer mothering to quests for self-fulfillment. The essays address mothering experiences around the globe, with contributors hailing from North and South America, Europe, Asia, Africa, and Australia.

"Sirs" begins the missive from our imaginary correspondent. "It's not that I don't love your original Big Penis Book, but that, perhaps, I love it too much. I now become anxious leaving the house without it, and long business trips are simply torture. Couldn't you make a smaller, less obtrusive edition, still packed with men whose generative members measure over 8 inches, that doesn't form a suspiciously large bulge in my carry-on luggage? And while you're at it, could you make it highly affordable, since my pockets are as shallow as this premise?" Done! The Little Big Penis Book features over 150 massively endowed models from the 1940s through the '90s, including photos by Bob Mizer of AMG, David Hurles of Old Reliable, Rip Colt of Colt Studio, Craig Calvin Anderson of Sierra Domino, Hal Roth of Filmco, Jim Jaeger of Third World Studios, Falcon Studios, Mike Arlen, Fred Bisonnes, Carlos Quiroz, and Charles Hovland in a compact and inexpensive format. Photos come not just from the original overstuffed 384-page edition, but from subsequent Big Penis Calendars, meaning that 30% of the content is unique to this edition. Add a reduced text to make more room for the stunning black-and-white and color photos and how could anyone-big, small, or just right-ask for a better deal?

Many loved The Big Book of Legs but some found it just too darn big, weighing in at nearly seven pounds. True, it was packed with shapely legs spanning six decades, from the first shy emergence of the ankle in the 1910s, through the rolled stockings and rouged knees of the 1920s, to the Betty Grable '40s, the stockinged and stilettoed '50s, on into the sexually liberated '60s and '70s, but it could still put a dent in your own thighs if you sat reading for too long. Fortunately here at TASCHEN we listen to your groans of agony as well as your moans of ecstasy; thus, this light and portable new edition, packing over 100 of the choicest photos from the original volume, as well as 38 new photos, into a compact (and frankly adorable) package. From Betty Grable to Bettie Page, the greatest legs of the 20th Century can be found within, shot by Irving Klaw, Bunny Yeager, and the incomparable Elmer Batters, father of leg art. There are silk and nylon stockings, high heels in abundance, curvy calves, taut thighs, playful toes and towering arches-with no bothersome text to get in the way. Could leg love get any sweeter?

This is a comparative study of the national significance of the classical revival which marked English and French art during the second half of the nineteenth century. It argues that the main focus of artists' interest in classical Greece, was the body of the Greek athlete. It explains this interest, first, by artists' contact with the art of Pheidias and Polycletus which portrayed it; and second, by the claim, made by physical anthropologists, that the classical body typified the race of the European nations.

Since the 1990s, women artists have led the contemporary art world in the creation of art depicting female adolescence, producing challenging, critically debated and avidly collected artworks that are driving the current and momentous shift in the perception of women in art. Girls! Girls! Girls! presents essays from established and up-and-coming scholars who address a variety of themes, including narcissism, nostalgia, post-feminism and fantasy with the goal of approaching the overarching question of why women artists are turning in such numbers to the subject of girls - and what these artistic explorations signify. Artists discussed include Anna Gaskell, Marlene McCarty, Sue de Beer, Miwa Yanagi, Eija-Liisa Ahtila, Collier Schorr and more. Contributors include Lucy Soutter, Harriet Riches, Maud Lavin, Taru Elfving, Kate Random Love, and Carol Mavor.

This extensively illustrated book discusses the representation of women in the art of the late Middle Ages in Northern Europe. Drawing on a wide range of different media, but making particular use of the rich plethora of woodcuts, the author charts how the images of women changed during the period and proposes two basic categories - the Virgin and Eve, good and evil. Within these, however, we discover attitudes to sinful, foolish, married and unmarried women and the style and use of these images exposes the full extent of the misogyny entrenched in medieval society. Interesting too is the variety of 'good' women and how they were used to confirm the social position of women throughout different classes. We also learn how women fought back: starting in the margins of manuscripts and them emerging in misericords, we find images of women making fools of men; love triangles; and unequal couples, where the women 'wear the trousers'. With the advent of printing, a whole genre of satirical prints about women snowballed, and the views they express became available for mass consumption. This fascinating and rich study charts this process in a lively and readable way.

-- Twenty of the most notorious Florida pirates from the 1500s to the present
-- Meet Sir Francis Drake, Black Caesar, Blackbeard, Jean Lafitte, Jose Gaspar
-- Piracy continues today, though the cargo is more likely to be drugs or other contraband instead of gold and silver
-- A lively read for adults and older children

Art or Porn? The popular media will often choose this heading when reviewing the latest sexually explicit novel, film, or art exhibition. The underlying assumption seems to be that the work under discussion has to be one or the other, and cannot be both. But is this not a false dilemma? Can one really draw a sharp line between the pornographic and the artistic? Isn't it time to make room for pornographic art and for an aesthetic investigation of pornography? In answering these questions this book will draw on insights from many different disciplines, including philosophy, feminist theory, aesthetics, art history, film studies, theatre studies, as well as on the experience of people who are actually operating in the art world and porn industry. By offering a variety of theoretical approaches and examples taken from a wide range of art forms and historical periods, the reader will gain a fuller and deeper comprehension of the relations and frictions between art and pornography.

What did it mean for painter Lee Krasner to be an artist and a woman if, in the culture of 1950s New York, to be an artist was to be Jackson Pollock and to be a woman was to be Marilyn Monroe? With this question, Griselda Pollock begins a transdisciplinary journey across the gendered aesthetics and the politics of difference in New York abstract, gestural painting. Revisiting recent exhibitions of Abstract Expressionism that either marginalised the artist-women in the movement or focused solely on the excluded women, as well as exhibitions of women in abstraction, Pollock reveals how theories of embodiment, the gesture, hysteria and subjectivity can deepen our understanding of this moment in the history of painting co-created by women and men. Providing close readings of key paintings by Lee Krasner and re-thinking her own historic examination of images of Jackson Pollock and Helen Frankenthaler at work, Pollock builds a cultural bridge between the New York artist-women and their other, Marilyn Monroe, a creative actor whose physically anguished but sexually appropriated star body is presented as pathos formula of life energy. Monroe emerges as a haunting presence within this moment of New York modernism, eroding the policed boundaries between high and popular culture and explaining what we gain by re-thinking art with the richness of feminist thought. -- .