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Art

Dark & Fetish Art

A collection of dark and fetish art of more than 40 contemporary artists from all over the world such as Zdzisław Beksiński, Nicoletta Ceccoli, Ray Caesar, James Jean, John Santerineross, Popovy Sisters, and Elizabeth Mcgrath.

Gothic taste, decadence, doll-like and Lolita-Esque style – the world of Aestheticism and degeneration – is supported by a wide range of people regardless of their age and gender.

Wanting to expose this fantastical art not only to fans who already have a deep appreciation for that world, but also to a broader general audience, PIE International has published Japanese Erotica in Contemporary Art in September, 2014 and Erotica in Japanese Contemporary Art II in March of 2016.

As these books were well recieved in the market, we now have this third volume Dark & Fetish Art.

With these two volumes, we focused on Japanese artists, but in this third book featured are the artists from around the world.

This book is divided into categories such as Fetish Art, Dark Art, Art Photography, and 3-Dimensional Art.

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This illustrated anthology is a thoughtfully arranged and carefully presented collection of the very best examples of sexual art and literature. It spans 2,000 years – from classical Rome and the ancient East to the novels of D.H. Lawrence and Henry Miller. The emphasis is on the life-enhancing qualities of good erotica and the result is a selection that will appeal as much to women as it does to men.

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Categories
Art Cinema Painting Photography

The Reclining Nude

The figure of a woman reclining, in repose, displayed, abandoned, fallen, asleep, or dreaming, returns in the work of women filmmakers and photographers in the twentieth and twenty-first centuries. Filmmakers Agnès Varda and Catherine Breillat, and American photographer working in Paris, Nan Goldin, return to the paintings of Titian, Velázquez, Goya, Courbet, and others, re-imagining, and re-purposing, their images of female beauty, display, (auto)eroticism, and intimacy. This book, a sensuous evocation of these feminist works, claims a female-identified pleasure in looking. The artists explored align images of repose and sensuality with other images of horizontality and proneness, of strong emotional content, images of erotic involvement, of vulnerability, of bodily contortion, of listlessness, grief, and depression. The reclining nude is for all three artists a starting point for a reflection on the relation of film, projections, and still photography, to painting, and a sustained re-imagining of the meanings conjured through serial returns to a particular pose. This book claims that the image of the reclining nude is compelling, for female-identified artists – and for all allied in feeling and picturing femininity – in the sensitive, ethically adventurous, politically complex feminist issues it engages. The reclining nude is an image of passivity, of submission, of hedonism. It allows thought about passivity as pleasure, about depression and grief figured posturally, about indolence as a form of resistance and anarchy. Through this image, female-identified artists have claimed freedom to offer new focus on these extremes of emotion. They are re-imagining horizontality.