The pioneering work of Johann Winckelmann (1717-1768) identified
a homoerotic appreciation of male beauty in classical Greek
sculpture, a fascination that had endured in Western art since the
Greeks. Yet after Winckelmann, the value (even the possibility) of
art's queer beauty was often denied. Several theorists, notably the
philosopher Immanuel Kant, broke sexual attraction and aesthetic
appreciation into separate or dueling domains. In turn, sexual
desire and aesthetic pleasure had to be profoundly rethought by
later writers.
Whitney Davis follows how such innovative thinkers as John
Addington Symonds, Michel Foucault, and Richard Wollheim rejoined
these two domains, reclaiming earlier insights about the mutual
implication of sexuality and aesthetics. Addressing texts by Arthur
Schopenhauer, Charles Darwin, Oscar Wilde, Vernon Lee, and Sigmund
Freud, among many others, Davis criticizes modern approaches, such
as Kantian idealism, Darwinism, psychoanalysis, and analytic
aesthetics, for either reducing aesthetics to a question of
sexuality or for removing sexuality from the aesthetic field
altogether. Despite these schematic reductions, sexuality always
returns to aesthetics, and aesthetic considerations always recur in
sexuality. Davis particularly emphasizes the way in which
philosophies of art since the late eighteenth century have
responded to nonstandard sexuality, especially homoeroticism, and
how theories of nonstandard sexuality have drawn on aesthetics in
significant ways.
Many imaginative and penetrating critics have wrestled
productively, though often inconclusively and "against themselves,"
with the aesthetic making of sexual life and new forms of art made
from reconstituted sexualities. Through a critique that confronts
history, philosophy, science, psychology, and dominant theories of
art and sexuality, Davis challenges privileged types of sexual and
aesthetic creation imagined in modern culture-and assumed
today.
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