Posts tagged sex
Album Art
80 Plays

Kate Bush - “Flower of the Mountain” (Director’s Cut), 2011

"yes first I gave him the bit of seedcake out of my mouth and it was leapyear like now yes 16 years ago my God after that long kiss I near lost my breath yes he said I was a flower of the mountain yes so we are flowers all a womans body yes that was one true thing he said in his life and the sun shines for you today yes that was why I liked him because I saw he understood or felt what a woman is and I knew I could always get round him and I gave him all the pleasure I could leading him on till he asked me to say yes and I wouldnt answer first only looked out over the sea and the sky I was thinking of so many things he didnt know of Mulvey and Mr Stanhope and Hester and father and old captain Groves and the sailors playing all birds fly and I say stoop and washing up dishes they called it on the pier and the sentry in front of the governors house with the thing round his white helmet poor devil half roasted and the Spanish girls laughing in their shawls and their tall combs and the auctions in the morning the Greeks and the jews and the Arabs and the devil knows who else from all the ends of Europe and Duke street and the fowl market all clucking outside Larby Sharons and the poor donkeys slipping half asleep and the vague fellows in the cloaks asleep in the shade on the steps and the big wheels of the carts of the bulls and the old castle thousands of years old yes and those handsome Moors all in white and turbans like kings asking you to sit down in their little bit of a shop and Ronda with the old windows of the posadas 2 glancing eyes a lattice hid for her lover to kiss the iron and the wineshops half open at night and the castanets and the night we missed the boat at Algeciras the watchman going about serene with his lamp and O that awful deepdown torrent O and the sea the sea crimson sometimes like fire and the glorious sunsets and the figtrees in the Alameda gardens yes and all the queer little streets and the pink and blue and yellow houses and the rosegardens and the jessamine and geraniums and cactuses and Gibraltar as a girl where I was a Flower of the mountain yes when I put the rose in my hair like the Andalusian girls used or shall I wear a red yes and how he kissed me under the Moorish wall and I thought well as well him as another and then I asked him with my eyes to ask again yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes."
- James Joyce, "Ulysses" (1918)

Tracey EminPeople Like You Need To Fuck People Like Me2002
(@ Lehmann Maupin, NYC; see also TRACEY EMIN: LOVE IS WHAT YOU WANT @ the Hayward Gallery, London)

Tracey Emin
People Like You Need To Fuck People Like Me
2002

(@ Lehmann Maupin, NYC; see also TRACEY EMIN: LOVE IS WHAT YOU WANT @ the Hayward Gallery, London)

Jeff BurtonUntitled #238 (Versace Goblet)2008
(via mymoma; see previously)

Jeff Burton
Untitled #238 (Versace Goblet)
2008

(via mymoma; see previously)

Troublemaker Invades Walker Art Center: “Can artwork sexually attract each other? Does minimalism make pop horny?  Does pornography elevated to high art lose its erotic power? Does size matter or can a tiny joke compete with a maximalist icon?  Can art ever be ‘funny’ without losing academic enthusiasm? … Maybe the entire museum-going experience is in need of intervention. Why is there no art in the parking lot? Wouldn’t a symphony of car crash sound effects remind visitors not to drink too much and drive home after an opening? And shouldn’t the public know how much this show cost? Why not display all the expense receipts (shipping, insurance, construction) in a vitrine like artistic ephemera and let the museum-goers snoop at the endless price of exhibition? Who says simple sculptural vandalism somewhere in the building make the whole experience of visiting an art museum sexier? And what if the blue-plate special being served in the restaurant is a photograph rather than an actual meal—isn’t that nutrition of a different kind?”

- John Waters @ the Walker Art Center, Minneapolis; see also, and previously

Gregory VeneyPapi Chulo #52003
(via cruiseorbecruised)

Gregory Veney
Papi Chulo #5
2003

(via cruiseorbecruised)

Charles LeDray
Mother of Pearl
1996

(via artinfo)

Jeff BurtonUntitled # 217 (Pull Cord)2005
(via cruiseorbecruised)

Jeff Burton
Untitled # 217 (Pull Cord)
2005

(via cruiseorbecruised)

Dean Sameshima - Cop Head 69 (2006), from the "Numbers" series (via cruiseorbecruised)

"(It) was a sort of going back to the days when men used the various colored handkerchiefs while going out. I love the codification aspect and also remember the days when I was very promiscuous as well. Also the hanky code is not so popular anymore. Especially with the internet now … I liked the idea of men going to a club/bars, which in those days would be loud, and just look at a guys back pocket and already know whether you and they were sexually compatible. So I used these rare, connect the dots pages in 70’s/80’s Drummer magazines as a sort of hint about promiscuity and numbers, like the novel … how many men have you slept with? Can you remember?" (artslant.com; see also)

Luis Buñuel’s L’Age d’Or, 1930: “On 3 December 1930, a group of incensed members of the fascist League of Patriots threw ink at the screen during a screening of the film, assaulted members of the audience, and destroyed art works by Dalí, Joan Miró, Man Ray, Yves Tanguy and others on display in the lobby. On 10 December, the Prefect of Police of Paris, Jean Chiappe, arranged to have the film banned after the Board of Censors reviewed the film. A contemporary Spanish newspaper condemned the film as ‘…the most repulsive corruption of our age… the new poison which Judaism, masonry, and rabid, revolutionary sectarianism want to use in order to corrupt the people.’ The Noailles family pulled the film from distribution for nearly 50 years. In 1933, it was screened at the Museum of Modern Art in New York City, but the film did not have its official United States premiere until 1–15 November 1979 at the Roxie Cinema in San Francisco.”

Happy Birthday Luis Buñuel

Louise Bourgeois & Tracey Emin - A million ways to cum, 2009 (in Don’t Abandon Me @ Hauser & Wirth, London - via artnewsmag; see previously)

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