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 "kneejerk"
responses, arguing with dexterity that some works, regardless of
their "high art" context, remain deeply problematic, while others
are both groundbreaking and liberating.
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