Art is a diverse range of (and products of) human activities involving creative imagination to express technical proficiency, beauty, emotional power, or conceptual ideas.[1][2][3]

There is no generally agreed definition of what constitutes art,[4][5][6] and ideas have changed over time. The three classical branches of visual art are painting, sculpture, and architecture.[7] Theatre, dance, and other performing arts, as well as literature, music, film and other media such as interactive media, are included in a broader definition of the arts.[1][8] Until the 17th century, art referred to any skill or mastery and was not differentiated from crafts or sciences. In modern usage after the 17th century, where aesthetic considerations are paramount, the fine arts are separated and distinguished from acquired skills in general, such as the decorative or applied arts.

The nature of art and related concepts, such as creativity and interpretation, are explored in a branch of philosophy known as aesthetics.[9] The resulting artworks are studied in the professional fields of art criticism and the history of art.

Contents 1 Overview 2 History 3 Forms, genres, media, and styles 3.1 Skill and craft 4 Purpose 4.1 Non-motivated functions 4.2 Motivated functions 5 Public access 6 Controversies 7 Theory 7.1 Arrival of Modernism 7.2 New Criticism and the "intentional fallacy" 7.3 "Linguistic turn" and its debate 8 Classification disputes 8.1 Value judgment 9 Art and law 10 See also 11 Notes 12 Bibliography 13 Further reading 14 External links Overview

Panorama of a section of A Thousand Li of Mountains and Rivers, a 12th-century painting by Song dynasty artist Wang Ximeng. In the perspective of the history of art,[10] artistic works have existed for almost as long as humankind: from early pre-historic art to contemporary art; however, some theorists feel that the typical concept of "artistic works" fits less well outside modern Western societies.[11] One early sense of the definition of art is closely related to the older Latin meaning, which roughly translates to "skill" or "craft", as associated with words such as "artisan". English words derived from this meaning include artifact, artificial, artifice, medical arts, and military arts. However, there are many other colloquial uses of the word, all with some relation to its etymology.

20th-century bottle, Twa peoples, Rwanda, Artistic works may serve practical functions, in addition to their decorative value. Over time, philosophers like Plato, Aristotle, Socrates and Kant, among others, questioned the meaning of art.[12] Several dialogues in Plato tackle questions about art: Socrates says that poetry is inspired by the muses, and is not rational. He speaks approvingly of this, and other forms of divine madness (drunkenness, eroticism, and dreaming) in the Phaedrus (265a–c), and yet in the Republic wants to outlaw Homer's great poetic art, and laughter as well. In Ion, Socrates gives no hint of the disapproval of Homer that he expresses in the Republic. The dialogue Ion suggests that Homer's Iliad functioned in the ancient Greek world as the Bible does today in the modern Christian world: as divinely inspired literary art that can provide moral guidance, if only it can be properly interpreted.[13]

With regards to the literary art and the musical arts, Aristotle considered epic poetry, tragedy, comedy, Dithyrambic poetry and music to be mimetic or imitative art, each varying in imitation by medium, object, and manner.[14] For example, music imitates with the media of rhythm and harmony, whereas dance imitates with rhythm alone, and poetry with language. The forms also differ in their object of imitation. Comedy, for instance, is a dramatic imitation of men worse than average; whereas tragedy imitates men slightly better than average. Lastly, the forms differ in their manner of imitation—through narrative or character, through change or no change, and through drama or no drama.[15] Aristotle believed that imitation is natural to mankind and constitutes one of mankind's advantages over animals.[16]

The more recent and specific sense of the word art as an abbreviation for creative art or fine art emerged in the early 17th century.[17] Fine art refers to a skill used to express the artist's creativity, or to engage the audience's aesthetic sensibilities, or to draw the audience towards consideration of more refined or finer work of art.

Within this latter sense, the word art may refer to several things: (i) a study of a creative skill, (ii) a process of using the creative skill, (iii) a product of the creative skill, or (iv) the audience's experience with the creative skill. The creative arts (art as discipline) are a collection of disciplines which produce artworks (art as objects) that are compelled by a personal drive (art as activity) and convey a message, mood, or symbolism for the perceiver to interpret (art as experience). Art is something that stimulates an individual's thoughts, emotions, beliefs, or ideas through the senses. Works of art can be explicitly made for this purpose or interpreted on the basis of images or objects. For some scholars, such as Kant, the sciences and the arts could be distinguished by taking science as representing the domain of knowledge and the arts as representing the domain of the freedom of artistic expression.[18]

Often, if the skill is being used in a common or practical way, people will consider it a craft instead of art. Likewise, if the skill is being used in a commercial or industrial way, it may be considered commercial art instead of fine art. On the other hand, crafts and design are sometimes considered applied art. Some art followers have argued that the difference between fine art and applied art has more to do with value judgments made about the art than any clear definitional difference.[19] However, even fine art often has goals beyond pure creativity and self-expression. The purpose of works of art may be to communicate ideas, such as in politically, spiritually, or philosophically motivated art; to create a sense of beauty (see aesthetics); to explore the nature of perception; for pleasure; or to generate strong emotions. The purpose may also be seemingly nonexistent.

The nature of art has been described by philosopher Richard Wollheim as "one of the most elusive of the traditional problems of human culture".[20] Art has been defined as a vehicle for the expression or communication of emotions and ideas, a means for exploring and appreciating formal elements for their own sake, and as mimesis or representation. Art as mimesis has deep roots in the philosophy of Aristotle.[21] Leo Tolstoy identified art as a use of indirect means to communicate from one person to another.[21] Benedetto Croce and R. G. Collingwood advanced the idealist view that art expresses emotions, and that the work of art therefore essentially exists in the mind of the creator.[22][23] The theory of art as form has its roots in the philosophy of Kant, and was developed in the early 20th century by Roger Fry and Clive Bell. More recently, thinkers influenced by Martin Heidegger have interpreted art as the means by which a community develops for itself a medium for self-expression and interpretation.[24] George Dickie has offered an institutional theory of art that defines a work of art as any artifact upon which a qualified person or persons acting on behalf of the social institution commonly referred to as "the art world" has conferred "the status of candidate for appreciation".[25] Larry Shiner has described fine art as "not an essence or a fate but something we have made. Art as we have generally understood it is a European invention barely two hundred years old."[26]

Art may be characterized in terms of mimesis (its representation of reality), narrative (storytelling), expression, communication of emotion, or other qualities. During the Romantic period, art came to be seen as "a special faculty of the human mind to be classified with religion and science".[27]

History Main article: History of art

Venus of Willendorf, circa 24,000–22,000 BP

Back of a Renaissance oval basin or dish, in the Metropolitan Museum of Art A shell engraved by Homo erectus was determined to be between 430,000 and 540,000 years old.[28] A set of eight 130,000 years old white-tailed eagle talons bear cut marks and abrasion that indicate manipulation by neanderthals, possibly for using it as jewelry.[29] A series of tiny, drilled snail shells about 75,000 years old—were discovered in a South African cave.[30] Containers that may have been used to hold paints have been found dating as far back as 100,000 years.[31]

Sculptures, cave paintings, rock paintings and petroglyphs from the Upper Paleolithic dating to roughly 40,000 years ago have been found,[32] but the precise meaning of such art is often disputed because so little is known about the cultures that produced them.

Cave painting of a horse from the Lascaux caves, circa 16,000 BP Many great traditions in art have a foundation in the art of one of the great ancient civilizations: Ancient Egypt, Mesopotamia, Persia, India, China, Ancient Greece, Rome, as well as Inca, Maya, and Olmec. Each of these centers of early civilization developed a unique and characteristic style in its art. Because of the size and duration of these civilizations, more of their art works have survived and more of their influence has been transmitted to other cultures and later times. Some also have provided the first records of how artists worked. For example, this period of Greek art saw a veneration of the human physical form and the development of equivalent skills to show musculature, poise, beauty, and anatomically correct proportions.[33]

In Byzantine and Medieval art of the Western Middle Ages, much art focused on the expression of subjects about Biblical and religious culture, and used styles that showed the higher glory of a heavenly world, such as the use of gold in the background of paintings, or glass in mosaics or windows, which also presented figures in idealized, patterned (flat) forms. Nevertheless, a classical realist tradition persisted in small Byzantine works, and realism steadily grew in the art of Catholic Europe.[34]

Renaissance art had a greatly increased emphasis on the realistic depiction of the material world, and the place of humans in it, reflected in the corporeality of the human body, and development of a systematic method of graphical perspective to depict recession in a three-dimensional picture space.[35]

The stylized signature of Sultan Mahmud II of the Ottoman Empire was written in Islamic calligraphy. It reads "Mahmud Khan son of Abdulhamid is forever victorious".

The Great Mosque of Kairouan in Tunisia, also called the Mosque of Uqba, is one of the finest, most significant and best preserved artistic and architectural examples of early great mosques. Dated in its present state from the 9th century, it is the ancestor and model of all the mosques in the western Islamic lands.[36] In the east, Islamic art's rejection of iconography led to emphasis on geometric patterns, calligraphy, and architecture.[37] Further east, religion dominated artistic styles and forms too. India and Tibet saw emphasis on painted sculptures and dance, while religious painting borrowed many conventions from sculpture and tended to bright contrasting colors with emphasis on outlines. China saw the flourishing of many art forms: jade carving, bronzework, pottery (including the stunning terracotta army of Emperor Qin[38]), poetry, calligraphy, music, painting, drama, fiction, etc. Chinese styles vary greatly from era to era and each one is traditionally named after the ruling dynasty. So, for example, Tang dynasty paintings are monochromatic and sparse, emphasizing idealized landscapes, but Ming dynasty paintings are busy and colorful, and focus on telling stories via setting and composition.[39] Japan names its styles after imperial dynasties too, and also saw much interplay between the styles of calligraphy and painting. Woodblock printing became important in Japan after the 17th century.[40]

Painting by Song dynasty artist Ma Lin, circa 1250. 24.8 × 25.2 cm The western Age of Enlightenment in the 18th century saw artistic depictions of physical and rational certainties of the clockwork universe, as well as politically revolutionary visions of a post-monarchist world, such as Blake's portrayal of Newton as a divine geometer,[41] or David's propagandistic paintings. This led to Romantic rejections of this in favor of pictures of the emotional side and individuality of humans, exemplified in the novels of Goethe. The late 19th century then saw a host of artistic movements, such as academic art, Symbolism, impressionism and fauvism among others.[42][43]

The history of 20th-century art is a narrative of endless possibilities and the search for new standards, each being torn down in succession by the next. Thus the parameters of Impressionism, Expressionism, Fauvism, Cubism, Dadaism, Surrealism, etc. cannot be maintained very much beyond the time of their invention. Increasing global interaction during this time saw an equivalent influence of other cultures into Western art. Thus, Japanese woodblock prints (themselves influenced by Western Renaissance draftsmanship) had an immense influence on impressionism and subsequent development. Later, African sculptures were taken up by Picasso and to some extent by Matisse. Similarly, in the 19th and 20th centuries the West has had huge impacts on Eastern art with originally western ideas like Communism and Post-Modernism exerting a powerful influence.[44]

Modernism, the idealistic search for truth, gave way in the latter half of the 20th century to a realization of its unattainability. Theodor W. Adorno said in 1970, "It is now taken for granted that nothing which concerns art can be taken for granted any more: neither art itself, nor art in relationship to the whole, nor even the right of art to exist."[45] Relativism was accepted as an unavoidable truth, which led to the period of contemporary art and postmodern criticism, where cultures of the world and of history are seen as changing forms, which can be appreciated and drawn from only with skepticism and irony. Furthermore, the separation of cultures is increasingly blurred and some argue it is now more appropriate to think in terms of a global culture, rather than of regional ones.[46]

In The Origin of the Work of Art, Martin Heidegger, a German philosopher and a seminal thinker, describes the essence of art in terms of the concepts of being and truth. He argues that art is not only a way of expressing the element of truth in a culture, but the means of creating it and providing a springboard from which "that which is" can be revealed. Works of art are not merely representations of the way things are, but actually produce a community's shared understanding. Each time a new artwork is added to any culture, the meaning of what it is to exist is inherently changed.

Historically, art and artistic skills and ideas have often been spread through trade. An example of this is the Silk Road, where Hellenistic, Iranian, Indian and Chinese influences could mix. Greco Buddhist art is one of the most vivid examples of this interaction. The meeting of different cultures and worldviews also influenced artistic creation. An example of this is the multicultural port metropolis of Trieste at the beginning of the 20th century, where James Joyce met writers from Central Europe and the artistic development of New York City as a cultural melting pot.[47][48][49]

Forms, genres, media, and styles

Napoleon I on his Imperial Throne by Ingres (French, 1806), oil on canvas Main article: The arts The creative arts are often divided into more specific categories, typically along perceptually distinguishable categories such as media, genre, styles, and form.[50] Art form refers to the elements of art that are independent of its interpretation or significance. It covers the methods adopted by the artist and the physical composition of the artwork, primarily non-semantic aspects of the work (i.e., figurae),[51] such as color, contour, dimension, medium, melody, space, texture, and value. Form may also include visual design principles, such as arrangement, balance, contrast, emphasis, harmony, proportion, proximity, and rhythm.[52]

In general there are three schools of philosophy regarding art, focusing respectively on form, content, and context.[52] Extreme Formalism is the view that all aesthetic properties of art are formal (that is, part of the art form). Philosophers almost universally reject this view and hold that the properties and aesthetics of art extend beyond materials, techniques, and form.[53] Unfortunately, there is little consensus on terminology for these informal properties. Some authors refer to subject matter and content – i.e., denotations and connotations – while others prefer terms like meaning and significance.[52]

Extreme Intentionalism holds that authorial intent plays a decisive role in the meaning of a work of art, conveying the content or essential main idea, while all other interpretations can be discarded.[54] It defines the subject as the persons or idea represented,[55] and the content as the artist's experience of that subject.[56] For example, the composition of Napoleon I on his Imperial Throne is partly borrowed from the Statue of Zeus at Olympia. As evidenced by the title, the subject is Napoleon, and the content is Ingres's representation of Napoleon as "Emperor-God beyond time and space".[52] Similarly to extreme formalism, philosophers typically reject extreme intentionalism, because art may have multiple ambiguous meanings and authorial intent may be unknowable and thus irrelevant. Its restrictive interpretation is "socially unhealthy, philosophically unreal, and politically unwise".[52]

Finally, the developing theory of post-structuralism studies art's significance in a cultural context, such as the ideas, emotions, and reactions prompted by a work.[57] The cultural context often reduces to the artist's techniques and intentions, in which case analysis proceeds along lines similar to formalism and intentionalism. However, in other cases historical and material conditions may predominate, such as religious and philosophical convictions, sociopolitical and economic structures, or even climate and geography. Art criticism continues to grow and develop alongside art.[52]

Skill and craft See also: Conceptual art and artistic skill

The Creation of Adam, detail from Michelangelo's fresco in the Sistine Chapel (1511) Art can connote a sense of trained ability or mastery of a medium. Art can also simply refer to the developed and efficient use of a language to convey meaning with immediacy or depth. Art can be defined as an act of expressing feelings, thoughts, and observations.[58]

There is an understanding that is reached with the material as a result of handling it, which facilitates one's thought processes. A common view is that the epithet "art", particular in its elevated sense, requires a certain level of creative expertise by the artist, whether this be a demonstration of technical ability, an originality in stylistic approach, or a combination of these two. Traditionally skill of execution was viewed as a quality inseparable from art and thus necessary for its success; for Leonardo da Vinci, art, neither more nor less than his other endeavors, was a manifestation of skill.[59] Rembrandt's work, now praised for its ephemeral virtues, was most admired by his contemporaries for its virtuosity.[60] At the turn of the 20th century, the adroit performances of John Singer Sargent were alternately admired and viewed with skepticism for their manual fluency,[61] yet at nearly the same time the artist who would become the era's most recognized and peripatetic iconoclast, Pablo Picasso, was completing a traditional academic training at which he excelled.[62][63]

Detail of Leonardo da Vinci's Mona Lisa, c. 1503–1506, showing the painting technique of sfumato A common contemporary criticism of some modern art occurs along the lines of objecting to the apparent lack of skill or ability required in the production of the artistic object. In conceptual art, Marcel Duchamp's "Fountain" is among the first examples of pieces wherein the artist used found objects ("ready-made") and exercised no traditionally recognised set of skills.[64] Tracey Emin's My Bed, or Damien Hirst's The Physical Impossibility of Death in the Mind of Someone Living follow this example and also manipulate the mass media. Emin slept (and engaged in other activities) in her bed before placing the result in a gallery as work of art. Hirst came up with the conceptual design for the artwork but has left most of the eventual creation of many works to employed artisans. Hirst's celebrity is founded entirely on his ability to produce shocking concepts.[65] The actual production in many conceptual and contemporary works of art is a matter of assembly of found objects. However, there are many modernist and contemporary artists who continue to excel in the skills of drawing and painting and in creating hands-on works of art.[66]

Purpose

A Navajo rug made circa 1880

Mozarabic Beatus miniature. Spain, late 10th century Art has had a great number of different functions throughout its history, making its purpose difficult to abstract or quantify to any single concept. This does not imply that the purpose of Art is "vague", but that it has had many unique, different reasons for being created. Some of these functions of Art are provided in the following outline. The different purposes of art may be grouped according to those that are non-motivated, and those that are motivated (Lévi-Strauss).[67]

Non-motivated functions The non-motivated purposes of art are those that are integral to being human, transcend the individual, or do not fulfill a specific external purpose. In this sense, Art, as creativity, is something humans must do by their very nature (i.e., no other species creates art), and is therefore beyond utility.[67]

Basic human instinct for harmony, balance, rhythm. Art at this level is not an action or an object, but an internal appreciation of balance and harmony (beauty), and therefore an aspect of being human beyond utility. Imitation, then, is one instinct of our nature. Next, there is the instinct for 'harmony' and rhythm, meters being manifestly sections of rhythm. Persons, therefore, starting with this natural gift developed by degrees their special aptitudes, till their rude improvisations gave birth to Poetry. – Aristotle[68]

Experience of the mysterious. Art provides a way to experience one's self in relation to the universe. This experience may often come unmotivated, as one appreciates art, music or poetry. The most beautiful thing we can experience is the mysterious. It is the source of all true art and science. – Albert Einstein[69]

Expression of the imagination. Art provides a means to express the imagination in non-grammatic ways that are not tied to the formality of spoken or written language. Unlike words, which come in sequences and each of which have a definite meaning, art provides a range of forms, symbols and ideas with meanings that are malleable. Jupiter's eagle [as an example of art] is not, like logical (aesthetic) attributes of an object, the concept of the sublimity and majesty of creation, but rather something else—something that gives the imagination an incentive to spread its flight over a whole host of kindred representations that provoke more thought than admits of expression in a concept determined by words. They furnish an aesthetic idea, which serves the above rational idea as a substitute for logical presentation, but with the proper function, however, of animating the mind by opening out for it a prospect into a field of kindred representations stretching beyond its ken. – Immanuel Kant[70]

Ritualistic and symbolic functions. In many cultures, art is used in rituals, performances and dances as a decoration or symbol. While these often have no specific utilitarian (motivated) purpose, anthropologists know that they often serve a purpose at the level of meaning within a particular culture. This meaning is not furnished by any one individual, but is often the result of many generations of change, and of a cosmological relationship within the culture. Most scholars who deal with rock paintings or objects recovered from prehistoric contexts that cannot be explained in utilitarian terms and are thus categorized as decorative, ritual or symbolic, are aware of the trap posed by the term 'art'. – Silva Tomaskova[71]

Motivated functions Motivated purposes of art refer to intentional, conscious actions on the part of the artists or creator. These may be to bring about political change, to comment on an aspect of society, to convey a specific emotion or mood, to address personal psychology, to illustrate another discipline, to (with commercial arts) sell a product, or simply as a form of communication.[67][72]

Communication. Art, at its simplest, is a form of communication. As most forms of communication have an intent or goal directed toward another individual, this is a motivated purpose. Illustrative arts, such as scientific illustration, are a form of art as communication. Maps are another example. However, the content need not be scientific. Emotions, moods and feelings are also communicated through art. [Art is a set of] artefacts or images with symbolic meanings as a means of communication. – Steve Mithen[73]

Art as entertainment. Art may seek to bring about a particular emotion or mood, for the purpose of relaxing or entertaining the viewer. This is often the function of the art industries of Motion Pictures and Video Games.[74] The Avant-Garde. Art for political change. One of the defining functions of early 20th-century art has been to use visual images to bring about political change. Art movements that had this goal—Dadaism, Surrealism, Russian constructivism, and Abstract Expressionism, among others—are collectively referred to as the avant-garde arts. By contrast, the realistic attitude, inspired by positivism, from Saint Thomas Aquinas to Anatole France, clearly seems to me to be hostile to any intellectual or moral advancement. I loathe it, for it is made up of mediocrity, hate, and dull conceit. It is this attitude which today gives birth to these ridiculous books, these insulting plays. It constantly feeds on and derives strength from the newspapers and stultifies both science and art by assiduously flattering the lowest of tastes; clarity bordering on stupidity, a dog's life. – André Breton (Surrealism)[75]

Art as a "free zone", removed from the action of the social censure. Unlike the avant-garde movements, which wanted to erase cultural differences in order to produce new universal values, contemporary art has enhanced its tolerance towards cultural differences as well as its critical and liberating functions (social inquiry, activism, subversion, deconstruction ...), becoming a more open place for research and experimentation.[76] Art for social inquiry, subversion or anarchy. While similar to art for political change, subversive or deconstructivist art may seek to question aspects of society without any specific political goal. In this case, the function of art may be simply to criticize some aspect of society.

Spray-paint graffiti on a wall in Rome Graffiti art and other types of street art are graphics and images that are spray-painted or stencilled on publicly viewable walls, buildings, buses, trains, and bridges, usually without permission. Certain art forms, such as graffiti, may also be illegal when they break laws (in this case vandalism). Art for social causes. Art can be used to raise awareness for a large variety of causes. A number of art activities were aimed at raising awareness of autism,[77][78][79] cancer,[80][81][82] human trafficking,[83][84] and a variety of other topics, such as ocean conservation,[85] human rights in Darfur,[86] murdered and missing Aboriginal women,[87] elder abuse,[88] and pollution.[89] Trashion, using trash to make fashion, practiced by artists such as Marina DeBris is one example of using art to raise awareness about pollution. Art for psychological and healing purposes. Art is also used by art therapists, psychotherapists and clinical psychologists as art therapy. The Diagnostic Drawing Series, for example, is used to determine the personality and emotional functioning of a patient. The end product is not the principal goal in this case, but rather a process of healing, through creative acts, is sought. The resultant piece of artwork may also offer insight into the troubles experienced by the subject and may suggest suitable approaches to be used in more conventional forms of psychiatric therapy.[90] Art for propaganda, or commercialism. Art is often utilized as a form of propaganda, and thus can be used to subtly influence popular conceptions or mood. In a similar way, art that tries to sell a product also influences mood and emotion. In both cases, the purpose of art here is to subtly manipulate the viewer into a particular emotional or psychological response toward a particular idea or object.[91] Art as a fitness indicator. It has been argued that the ability of the human brain by far exceeds what was needed for survival in the ancestral environment. One evolutionary psychology explanation for this is that the human brain and associated traits (such as artistic ability and creativity) are the human equivalent of the peacock's tail. The purpose of the male peacock's extravagant tail has been argued to be to attract females (see also Fisherian runaway and handicap principle). According to this theory superior execution of art was evolutionarily important because it attracted mates.[92] The functions of art described above are not mutually exclusive, as many of them may overlap. For example, art for the purpose of entertainment may also seek to sell a product, i.e. the movie or video game.

Public access

The Metropolitan Museum of Art in Manhattan. Museums are important forums for the display of visual art. Since ancient times, much of the finest art has represented a deliberate display of wealth or power, often achieved by using massive scale and expensive materials. Much art has been commissioned by political rulers or religious establishments, with more modest versions only available to the most wealthy in society.[93]

Nevertheless, there have been many periods where art of very high quality was available, in terms of ownership, across large parts of society, above all in cheap media such as pottery, which persists in the ground, and perishable media such as textiles and wood. In many different cultures, the ceramics of indigenous peoples of the Americas are found in such a wide range of graves that they were clearly not restricted to a social elite,[94] though other forms of art may have been. Reproductive methods such as moulds made mass-production easier, and were used to bring high-quality Ancient Roman pottery and Greek Tanagra figurines to a very wide market. Cylinder seals were both artistic and practical, and very widely used by what can be loosely called the middle class in the Ancient Near East.[95] Once coins were widely used, these also became an art form that reached the widest range of society.[96]

Another important innovation came in the 15th century in Europe, when printmaking began with small woodcuts, mostly religious, that were often very small and hand-colored, and affordable even by peasants who glued them to the walls of their homes. Printed books were initially very expensive, but fell steadily in price until by the 19th century even the poorest could afford some with printed illustrations.[97] Popular prints of many different sorts have decorated homes and other places for centuries.[98]

The Museum of Art in Basel (Switzerland), is the oldest public museum of art in the world. In 1661, the city of Basel, in Switzerland, opened the first public museum of art in the world, the Kunstmuseum Basel. Today, its collection is distinguished by an impressively wide historic span, from the early 15th century up to the immediate present. Its various areas of emphasis give it international standing as one of the most significant museums of its kind. These encompass: paintings and drawings by artists active in the Upper Rhine region between 1400 and 1600, and on the art of the 19th to 21st centuries.[99]

Public buildings and monuments, secular and religious, by their nature normally address the whole of society, and visitors as viewers, and display to the general public has long been an important factor in their design. Egyptian temples are typical in that the most largest and most lavish decoration was placed on the parts that could be seen by the general public, rather than the areas seen only by the priests.[100] Many areas of royal palaces, castles and the houses of the social elite were often generally accessible, and large parts of the art collections of such people could often be seen, either by anybody, or by those able to pay a small price, or those wearing the correct clothes, regardless of who they were, as at the Palace of Versailles, where the appropriate extra accessories (silver shoe buckles and a sword) could be hired from shops outside.[101]

Special arrangements were made to allow the public to see many royal or private collections placed in galleries, as with the Orleans Collection mostly housed in a wing of the Palais Royal in Paris, which could be visited for most of the 18th century.[102] In Italy the art tourism of the Grand Tour became a major industry from the Renaissance onwards, and governments and cities made efforts to make their key works accessible. The British Royal Collection remains distinct, but large donations such as the Old Royal Library were made from it to the British Museum, established in 1753. The Uffizi in Florence opened entirely as a gallery in 1765, though this function had been gradually taking the building over from the original civil servants' offices for a long time before.[103] The building now occupied by the Prado in Madrid was built before the French Revolution for the public display of parts of the royal art collection, and similar royal galleries open to the public existed in Vienna, Munich and other capitals. The opening of the Musée du Louvre during the French Revolution (in 1793) as a public museum for much of the former French royal collection certainly marked an important stage in the development of public access to art, transferring ownership to a republican state, but was a continuation of trends already well established.[104]

Most modern public museums and art education programs for children in schools can be traced back to this impulse to have art available to everyone. However, museums do not only provide availability to art, but do also influence the way art is being perceived by the audience, as studies found.[105] Thus, the museum itself is not only a blunt stage for the presentation of art, but plays an active and vital role in the overall perception of art in modern society.

Museums in the United States tend to be gifts from the very rich to the masses. (The Metropolitan Museum of Art in New York City, for example, was created by John Taylor Johnston, a railroad executive whose personal art collection seeded the museum.) But despite all this, at least one of the important functions of art in the 21st century remains as a marker of wealth and social status.[106]

There have been attempts by artists to create art that can not be bought by the wealthy as a status object. One of the prime original motivators of much of the art of the late 1960s and 1970s was to create art that could not be bought and sold. It is "necessary to present something more than mere objects"[107] said the major post war German artist Joseph Beuys. This time period saw the rise of such things as performance art, video art, and conceptual art. The idea was that if the artwork was a performance that would leave nothing behind, or was simply an idea, it could not be bought and sold. "Democratic precepts revolving around the idea that a work of art is a commodity impelled the aesthetic innovation which germinated in the mid-1960s and was reaped throughout the 1970s. Artists broadly identified under the heading of Conceptual art ... substituting performance and publishing activities for engagement with both the material and materialistic concerns of painted or sculptural form ... [have] endeavored to undermine the art object qua object."[108]

Versailles: Louis Le Vau opened up the interior court to create the expansive entrance cour d'honneur, later copied all over Europe. In the decades since, these ideas have been somewhat lost as the art market has learned to sell limited edition DVDs of video works,[109] invitations to exclusive performance art pieces, and the objects left over from conceptual pieces. Many of these performances create works that are only understood by the elite who have been educated as to why an idea or video or piece of apparent garbage may be considered art. The marker of status becomes understanding the work instead of necessarily owning it, and the artwork remains an upper-class activity. "With the widespread use of DVD recording technology in the early 2000s, artists, and the gallery system that derives its profits from the sale of artworks, gained an important means of controlling the sale of video and computer artworks in limited editions to collectors."[110]

Controversies

Théodore Géricault's Raft of the Medusa, circa 1820 Art has long been controversial, that is to say disliked by some viewers, for a wide variety of reasons, though most pre-modern controversies are dimly recorded, or completely lost to a modern view. Iconoclasm is the destruction of art that is disliked for a variety of reasons, including religious ones. Aniconism is a general dislike of either all figurative images, or often just religious ones, and has been a thread in many major religions. It has been a crucial factor in the history of Islamic art, where depictions of Muhammad remain especially controversial. Much art has been disliked purely because it depicted or otherwise stood for unpopular rulers, parties or other groups. Artistic conventions have often been conservative and taken very seriously by art critics, though often much less so by a wider public. The iconographic content of art could cause controversy, as with late medieval depictions of the new motif of the Swoon of the Virgin in scenes of the Crucifixion of Jesus. The Last Judgment by Michelangelo was controversial for various reasons, including breaches of decorum through nudity and the Apollo-like pose of Christ.[111][112]

The content of much formal art through history was dictated by the patron or commissioner rather than just the artist, but with the advent of Romanticism, and economic changes in the production of art, the artists' vision became the usual determinant of the content of his art, increasing the incidence of controversies, though often reducing their significance. Strong incentives for perceived originality and publicity also encouraged artists to court controversy. Théodore Géricault's Raft of the Medusa (c. 1820), was in part a political commentary on a recent event. Édouard Manet's Le Déjeuner sur l'Herbe (1863), was considered scandalous not because of the nude woman, but because she is seated next to men fully dressed in the clothing of the time, rather than in robes of the antique world.[113][114] John Singer Sargent's Madame Pierre Gautreau (Madam X) (1884), caused a controversy over the reddish pink used to color the woman's ear lobe, considered far too suggestive and supposedly ruining the high-society model's reputation.[115][116] The gradual abandonment of naturalism and the depiction of realistic representations of the visual appearance of subjects in the 19th and 20th centuries led to a rolling controversy lasting for over a century.

Performance by Joseph Beuys, 1978: Everyone an artist – On the way to the libertarian form of the social organism. In the 20th century, Pablo Picasso's Guernica (1937) used arresting cubist techniques and stark monochromatic oils, to depict the harrowing consequences of a contemporary bombing of a small, ancient Basque town. Leon Golub's Interrogation III (1981), depicts a female nude, hooded detainee strapped to a chair, her legs open to reveal her sexual organs, surrounded by two tormentors dressed in everyday clothing. Andres Serrano's Piss Christ (1989) is a photograph of a crucifix, sacred to the Christian religion and representing Christ's sacrifice and final suffering, submerged in a glass of the artist's own urine. The resulting uproar led to comments in the United States Senate about public funding of the arts.[117][118]

Theory Main article: Aesthetics Before Modernism, aesthetics in Western art was greatly concerned with achieving the appropriate balance between different aspects of realism or truth to nature and the ideal; ideas as to what the appropriate balance is have shifted to and fro over the centuries. This concern is largely absent in other traditions of art. The aesthetic theorist John Ruskin, who championed what he saw as the naturalism of J. M. W. Turner, saw art's role as the communication by artifice of an essential truth that could only be found in nature.[119]

The definition and evaluation of art has become especially problematic since the 20th century. Richard Wollheim distinguishes three approaches to assessing the aesthetic value of art: the Realist, whereby aesthetic quality is an absolute value independent of any human view; the Objectivist, whereby it is also an absolute value, but is dependent on general human experience; and the Relativist position, whereby it is not an absolute value, but depends on, and varies with, the human experience of different humans.[120]

Arrival of Modernism

Composition with Red Blue and Yellow (1930) by Piet Mondrian (Dutch, 1872–1944) The arrival of Modernism in the late 19th century lead to a radical break in the conception of the function of art,[121] and then again in the late 20th century with the advent of postmodernism. Clement Greenberg's 1960 article "Modernist Painting" defines modern art as "the use of characteristic methods of a discipline to criticize the discipline itself".[122] Greenberg originally applied this idea to the Abstract Expressionist movement and used it as a way to understand and justify flat (non-illusionistic) abstract painting:

Realistic, naturalistic art had dissembled the medium, using art to conceal art; modernism used art to call attention to art. The limitations that constitute the medium of painting—the flat surface, the shape of the support, the properties of the pigment—were treated by the Old Masters as negative factors that could be acknowledged only implicitly or indirectly. Under Modernism these same limitations came to be regarded as positive factors, and were acknowledged openly.[122]

After Greenberg, several important art theorists emerged, such as Michael Fried, T. J. Clark, Rosalind Krauss, Linda Nochlin and Griselda Pollock among others. Though only originally intended as a way of understanding a specific set of artists, Greenberg's definition of modern art is important to many of the ideas of art within the various art movements of the 20th century and early 21st century.[123][124]

Pop artists like Andy Warhol became both noteworthy and influential through work including and possibly critiquing popular culture, as well as the art world. Artists of the 1980s, 1990s, and 2000s expanded this technique of self-criticism beyond high art to all cultural image-making, including fashion images, comics, billboards and pornography.[125][126]

Duchamp once proposed that art is any activity of any kind-everything. However, the way that only certain activities are classified today as art is a social construction.[127] There is evidence that there may be an element of truth to this. In The Invention of Art: A Cultural History, Larry Shiner examines the construction of the modern system of the arts, i.e. fine art. He finds evidence that the older system of the arts before our modern system (fine art) held art to be any skilled human activity; for example, Ancient Greek society did not possess the term art, but techne. Techne can be understood neither as art or craft, the reason being that the distinctions of art and craft are historical products that came later on in human history. Techne included painting, sculpting and music, but also cooking, medicine, horsemanship, geometry, carpentry, prophecy, and farming, etc.[128]

New Criticism and the "intentional fallacy" Following Duchamp during the first half of the 20th century, a significant shift to general aesthetic theory took place which attempted to apply aesthetic theory between various forms of art, including the literary arts and the visual arts, to each other. This resulted in the rise of the New Criticism school and debate concerning the intentional fallacy. At issue was the question of whether the aesthetic intentions of the artist in creating the work of art, whatever its specific form, should be associated with the criticism and evaluation of the final product of the work of art, or, if the work of art should be evaluated on its own merits independent of the intentions of the artist.[129][130]

In 1946, William K. Wimsatt and Monroe Beardsley published a classic and controversial New Critical essay entitled "The Intentional Fallacy", in which they argued strongly against the relevance of an author's intention, or "intended meaning" in the analysis of a literary work. For Wimsatt and Beardsley, the words on the page were all that mattered; importation of meanings from outside the text was considered irrelevant, and potentially distracting.[131][132]

In another essay, "The Affective Fallacy", which served as a kind of sister essay to "The Intentional Fallacy" Wimsatt and Beardsley also discounted the reader's personal/emotional reaction to a literary work as a valid means of analyzing a text. This fallacy would later be repudiated by theorists from the reader-response school of literary theory. Ironically, one of the leading theorists from this school, Stanley Fish, was himself trained by New Critics. Fish criticizes Wimsatt and Beardsley in his 1970 essay "Literature in the Reader".[133][134]

As summarized by Gaut and Livingston in their essay "The Creation of Art": "Structuralist and post-structuralists theorists and critics were sharply critical of many aspects of New Criticism, beginning with the emphasis on aesthetic appreciation and the so-called autonomy of art, but they reiterated the attack on biographical criticisms' assumption that the artist's activities and experience were a privileged critical topic."[135] These authors contend that: "Anti-intentionalists, such as formalists, hold that the intentions involved in the making of art are irrelevant or peripheral to correctly interpreting art. So details of the act of creating a work, though possibly of interest in themselves, have no bearing on the correct interpretation of the work."[136]

Gaut and Livingston define the intentionalists as distinct from formalists stating that: "Intentionalists, unlike formalists, hold that reference to intentions is essential in fixing the correct interpretation of works." They quote Richard Wollheim as stating that, "The task of criticism is the reconstruction of the creative process, where the creative process must in turn be thought of as something not stopping short of, but terminating on, the work of art itself."[136]

"Linguistic turn" and its debate The end of the 20th century fostered an extensive debate known as the linguistic turn controversy, or the "innocent eye debate" in the philosophy of art. This debate discussed the encounter of the work of art as being determined by the relative extent to which the conceptual encounter with the work of art dominates over the perceptual encounter with the work of art.[137]

Decisive for the linguistic turn debate in art history and the humanities were the works of yet another tradition, namely the structuralism of Ferdinand de Saussure and the ensuing movement of poststructuralism. In 1981, the artist Mark Tansey created a work of art titled "The Innocent Eye" as a criticism of the prevailing climate of disagreement in the philosophy of art during the closing decades of the 20th century. Influential theorists include Judith Butler, Luce Irigaray, Julia Kristeva, Michel Foucault and Jacques Derrida. The power of language, more specifically of certain rhetorical tropes, in art history and historical discourse was explored by Hayden White. The fact that language is not a transparent medium of thought had been stressed by a very different form of philosophy of language which originated in the works of Johann Georg Hamann and Wilhelm von Humboldt.[138] Ernst Gombrich and Nelson Goodman in his book Languages of Art: An Approach to a Theory of Symbols came to hold that the conceptual encounter with the work of art predominated exclusively over the perceptual and visual encounter with the work of art during the 1960s and 1970s.[139] He was challenged on the basis of research done by the Nobel prize winning psychologist Roger Sperry who maintained that the human visual encounter was not limited to concepts represented in language alone (the linguistic turn) and that other forms of psychological representations of the work of art were equally defensible and demonstrable. Sperry's view eventually prevailed by the end of the 20th century with aesthetic philosophers such as Nick Zangwill strongly defending a return to moderate aesthetic formalism among other alternatives.[140]

Classification disputes Main article: Classificatory disputes about art

The original Fountain by Marcel Duchamp, 1917, photographed by Alfred Stieglitz at the 291 after the 1917 Society of Independent Artists exhibit. Stieglitz used a backdrop of The Warriors by Marsden Hartley to photograph the urinal. The exhibition entry tag can be clearly seen.[141] Disputes as to whether or not to classify something as a work of art are referred to as classificatory disputes about art. Classificatory disputes in the 20th century have included cubist and impressionist paintings, Duchamp's Fountain, the movies, superlative imitations of banknotes, conceptual art, and video games.[142] Philosopher David Novitz has argued that disagreement about the definition of art are rarely the heart of the problem. Rather, "the passionate concerns and interests that humans vest in their social life" are "so much a part of all classificatory disputes about art."[143] According to Novitz, classificatory disputes are more often disputes about societal values and where society is trying to go than they are about theory proper. For example, when the Daily Mail criticized Hirst's and Emin's work by arguing "For 1,000 years art has been one of our great civilising forces. Today, pickled sheep and soiled beds threaten to make barbarians of us all" they are not advancing a definition or theory about art, but questioning the value of Hirst's and Emin's work.[144] In 1998, Arthur Danto, suggested a thought experiment showing that "the status of an artifact as work of art results from the ideas a culture applies to it, rather than its inherent physical or perceptible qualities. Cultural interpretation (an art theory of some kind) is therefore constitutive of an object's arthood."[145][146]

Anti-art is a label for art that intentionally challenges the established parameters and values of art;[147] it is term associated with Dadaism and attributed to Marcel Duchamp just before World War I,[147] when he was making art from found objects.[147] One of these, Fountain (1917), an ordinary urinal, has achieved considerable prominence and influence on art.[147] Anti-art is a feature of work by Situationist International,[148] the lo-fi Mail art movement, and the Young British Artists,[147] though it is a form still rejected by the Stuckists,[147] who describe themselves as anti-anti-art.[149][150]

Architecture is often included as one of the visual arts; however, like the decorative arts, or advertising, it involves the creation of objects where the practical considerations of use are essential in a way that they usually are not in a painting, for example.[151]

Value judgment

Aboriginal hollow log tombs. National Gallery, Canberra, Australia. Somewhat in relation to the above, the word art is also used to apply judgments of value, as in such expressions as "that meal was a work of art" (the cook is an artist),[152] or "the art of deception" (the highly attained level of skill of the deceiver is praised). It is this use of the word as a measure of high quality and high value that gives the term its flavor of subjectivity. Making judgments of value requires a basis for criticism. At the simplest level, a way to determine whether the impact of the object on the senses meets the criteria to be considered art is whether it is perceived to be attractive or repulsive. Though perception is always colored by experience, and is necessarily subjective, it is commonly understood that what is not somehow aesthetically satisfying cannot be art. However, "good" art is not always or even regularly aesthetically appealing to a majority of viewers. In other words, an artist's prime motivation need not be the pursuit of the aesthetic. Also, art often depicts terrible images made for social, moral, or thought-provoking reasons. For example, Francisco Goya's painting depicting the Spanish shootings of 3 May 1808 is a graphic depiction of a firing squad executing several pleading civilians. Yet at the same time, the horrific imagery demonstrates Goya's keen artistic ability in composition and execution and produces fitting social and political outrage. Thus, the debate continues as to what mode of aesthetic satisfaction, if any, is required to define 'art'.[153][154]

The assumption of new values or the rebellion against accepted notions of what is aesthetically superior need not occur concurrently with a complete abandonment of the pursuit of what is aesthetically appealing. Indeed, the reverse is often true, that the revision of what is popularly conceived of as being aesthetically appealing allows for a re-invigoration of aesthetic sensibility, and a new appreciation for the standards of art itself. Countless schools have proposed their own ways to define quality, yet they all seem to agree in at least one point: once their aesthetic choices are accepted, the value of the work of art is determined by its capacity to transcend the limits of its chosen medium to strike some universal chord by the rarity of the skill of the artist or in its accurate reflection in what is termed the zeitgeist. Art is often intended to appeal to and connect with human emotion. It can arouse aesthetic or moral feelings, and can be understood as a way of communicating these feelings. Artists express something so that their audience is aroused to some extent, but they do not have to do so consciously. Art may be considered an exploration of the human condition; that is, what it is to be human.[155] By extension, it has been argued by Emily L. Spratt that the development of artificial intelligence, especially in regard to its uses with images, necessitates a re-evaluation of aesthetic theory in art history today and a reconsideration of the limits of human creativity.[156][157]

Art and law An essential legal issue are art forgeries, plagiarism, replicas and works that are strongly based on other works of art.

The trade in works of art or the export from a country may be subject to legal regulations. Internationally there are also extensive efforts to protect the works of art created. The UN, UNESCO and Blue Shield International try to ensure effective protection at the national level and to intervene directly in the event of armed conflicts or disasters. This can particularly affect museums, archives, art collections and excavation sites. This should also secure the economic basis of a country, especially because works of art are often of tourist importance. The founding president of Blue Shield International, Karl von Habsburg, explained an additional connection between the destruction of cultural property and the cause of flight during a mission in Lebanon in April 2019: “Cultural goods are part of the identity of the people who live in a certain place. If you destroy their culture, you also destroy their identity. Many people are uprooted, often no longer have any prospects and as a result flee from their homeland.”[158][159][160][161][162][163]

Pornography (often shortened to porn) is the portrayal of sexual subject matter for the exclusive purpose of sexual arousal.[1] Pornography may be presented in a variety of media, including magazines, animation, writing, film, video, and video games. The term does not include live exhibitions like sex shows and striptease. The primary subjects of present-day pornographic depictions are pornographic models, who pose for still photographs, and pornographic actors who engage in filmed sex acts.

Various groups within society have considered depictions of a sexual nature immoral, addictive, and noxious, labeling them pornographic, and attempting to have them suppressed under obscenity laws, censored or made illegal. Such grounds, and even the definition of pornography, have differed in various historical, cultural, and national contexts.[2] Social attitudes towards the discussion and presentation of sexuality have become more tolerant in Western countries, and legal definitions of obscenity have become more limited, beginning in 1969 with Blue Movie by Andy Warhol, the first adult erotic film depicting explicit sexual intercourse to receive wide theatrical release in the United States. It was followed by the Golden Age of Porn (1969–1984), in which the best quality pornographic films became part of mainstream culture.[3][4][5]

A growing industry for the production and consumption of pornography developed in the latter half of the 20th century. The introduction of home video and the Internet saw a boom in the worldwide porn industry that generates billions of dollars annually.[6] Commercialized pornography accounts for over US$2.5 billion in the United States alone,[7] including the production of various media and associated products and services. The porn industry is between $10–$12 billion in the U.S.[8] In 2006, the world pornography revenue was 97 billion dollars.[9] This industry employs thousands of performers along with support and production staff. It is also followed by dedicated industry publications and trade groups, award shows such as the AVN Awards, as well as the mainstream press, private organizations (watchdog groups), government agencies, and political organizations.[10] Videos involving non-consensual content and cybersex trafficking have been hosted on popular pornography sites in the 21st century.[11][12][13][14]

Contents 1 Etymology 2 History 3 Classification 3.1 Subgenres 4 Commercialism 4.1 Economics 4.2 Technology 4.2.1 Computer-generated images and manipulations 4.2.2 3D pornography 4.3 Production and distribution by region 5 Study and analysis 6 Laws and regulations 6.1 What is not pornography 6.2 Copyright status 7 STI prevention and birth control methods 8 Views 8.1 Feminist views 8.2 Religious views 8.3 Women in the industry 9 See also 10 References 11 Further reading 11.1 Advocacy 11.2 Opposition 11.3 Neutral or mixed 12 External links Etymology For the term in horror films, see torture porn. The word pornography was coined from the ancient Greek words πόρνη (pórnē "prostitute" and πορνεία porneía "prostitution"[15]), and γράφειν (gráphein "to write or to record", derived meaning "illustration", as in "graph"), and the suffix -ία (-ia, meaning "state of", "property of", or "place of"), thus meaning "a written description or illustration of prostitutes or prostitution". No date is known for the first use of the word in Greek; the earliest attested, most related word one could find in Greek, is πορνογράφος, pornográphos, i.e. "someone writing about harlots", in the Deipnosophists of Athenaeus.[16][17] The Modern Greek word pornographia (πορνογραφία) is a reborrowing of the French pornographie.[18]

"Pornographie" was in use in the French language during the 1800s. The word did not enter the English language as the familiar word until 1857[19] or as a French import in New Orleans in 1842.[20] The word was originally introduced by classical scholars as "a bookish, and therefore nonoffensive, term for writing about prostitutes",[21] but its meaning was quickly expanded to include all forms of "objectionable or obscene material in art and literature".[21] As early as 1864, Webster's Dictionary defined the word bluntly as "a licentious painting".[21] The more inclusive word erotica, sometimes used as a synonym for "pornography", is derived from the feminine form of the ancient Greek adjective ἐρωτικός (erōtikós), derived from ἔρως (érōs), which refers to lust and sexual love.[21]

Pornography is often abbreviated to porn or porno in informal language.

History Further information: History of erotic depictions

Erotic scene on the rim of an Attic red-figure kylix, c. 510 BC. Depictions of a sexual nature have existed since prehistoric times, as seen in the Venus figurines and rock art.[22] A vast number of artifacts have been discovered from ancient Mesopotamia depicting explicit heterosexual sex.[23][24]

Glyptic art from the Sumerian Early Dynastic Period frequently shows scenes of frontal sex in the missionary position.[23] In Mesopotamian votive plaques from the early second millennium BC, the man is usually shown entering the woman from behind while she bends over, drinking beer through a straw.[23] Middle Assyrian lead votive figurines often represent the man standing and penetrating the woman as she rests on top of an altar.[23] Scholars have traditionally interpreted all these depictions as scenes of ritual sex,[23] but they are more likely to be associated with the cult of Inanna, the goddess of sex and prostitution.[23] Many sexually explicit images were found in the temple of Inanna at Assur,[23] which also contained models of male and female sexual organs.[23]

Depictions of sexual intercourse were not part of the general repertory of ancient Egyptian formal art,[25] but rudimentary sketches of heterosexual intercourse have been found on pottery fragments and in graffiti.[25] The final two thirds of the Turin Erotic Papyrus (Papyrus 55001), an Egyptian papyrus scroll discovered at Deir el-Medina,[26][25] consist of a series of twelve vignettes showing men and women in various sexual positions.[26] The scroll was probably painted in the Ramesside period (1292–1075 BC)[26] and its high artistic quality indicates that it was produced for a wealthy audience.[26] No other similar scrolls have yet been discovered.[25]

Oil lamp artifact depicting the doggy style sexual position Fanny Hill (1748) is considered "the first original English prose pornography, and the first pornography to use the form of the novel."[27] It is an erotic novel by John Cleland first published in England as Memoirs of a Woman of Pleasure.[28][29] It is one of the most prosecuted and banned books in history.[30] The authors were charged with "corrupting the King's subjects."

When large-scale excavations of Pompeii were undertaken in the 1860s, much of the erotic art of the Romans came to light, shocking the Victorians who saw themselves as the intellectual heirs of the Roman Empire. They did not know what to do with the frank depictions of sexuality and endeavored to hide them away from everyone but upper-class scholars. The moveable objects were locked away in the Secret Museum in Naples and what could not be removed was covered and cordoned off as to not corrupt the sensibilities of women, children, and the working classes.[31]

After the modern invention of photography, photographic pornography was also born. The parisian demimonde included Napoleon III's minister, Charles de Morny, who was an early patron that displayed photos at large gatherings.[32]

The world's first law criminalizing pornography was the English Obscene Publications Act 1857 enacted at the urging of the Society for the Suppression of Vice.[33] The Act, which applied to the United Kingdom and Ireland, made the sale of obscene material a statutory offence, giving the courts power to seize and destroy offending material. The American equivalent was the Comstock Act of 1873[34][35] which made it illegal to send any "obscene, lewd, and/or lascivious" materials through the mail. The English Act did not apply to Scotland, where the common law continued to apply. However, neither the English nor the United States Act defined what constituted "obscene", leaving this for the courts to determine.

Before the English Act, the publication of obscene material was treated as a common law misdemeanour[36] and effectively prosecuting authors and publishers was difficult even in cases where the material was clearly intended as pornography. Although nineteenth-century legislation eventually outlawed the publication, retail, and trafficking of certain writings and images regarded as pornographic and would order the destruction of shop and warehouse stock meant for sale, the private possession of and viewing of (some forms of) pornography was not made an offence until the twentieth century.[37]

Historians have explored the role of pornography in social history and the history of morality.[38] The Victorian attitude that pornography was for a select few can be seen in the wording of the Hicklin test stemming from a court case in 1868 where it asks, "whether the tendency of the matter charged as obscenity is to deprave and corrupt those whose minds are open to such immoral influences." Although they were suppressed, depictions of erotic imagery were common throughout history.[39]

Pornographic film production commenced almost immediately after the invention of the motion picture in 1895. Two of the earliest pioneers were Eugène Pirou and Albert Kirchner. Kirchner directed the earliest surviving pornographic film for Pirou under the trade name "Léar". The 1896 film Le Coucher de la Mariée showed Louise Willy performing a striptease. Pirou's film inspired a genre of risqué French films showing women disrobing and other filmmakers realised profits could be made from such films.[40][41]

Marquee at Pilgrim Theatre on Washington Street showing Dr. Sex (1964) Sexually explicit films opened producers and distributors to prosecution. Such films were produced illicitly by amateurs, starting in the 1920s, primarily in France and the United States. Processing the film was risky as was their distribution. Distribution was strictly private.[42][43] In 1969, Denmark became the first country to abolish censorship, thereby decriminalizing pornography, which led to an explosion in investment and of commercially produced pornography. However, it continued to be banned in other countries, and had to be smuggled in, where it was sold "under the counter" or (sometimes) shown in "members only" cinema clubs.[42] Nonetheless, and also in 1969, Blue Movie by Andy Warhol, was the first adult erotic film depicting explicit sexual intercourse to receive wide theatrical release in the United States.[3][4][5] The film was a seminal film in the Golden Age of Porn and, according to Warhol, a major influence in the making of Last Tango in Paris, an internationally controversial erotic drama film, starring Marlon Brando, and released a few years after Blue Movie was made.[4]

A selection of pornographic magazines confiscated by customs authorities in 1969.

Two porn actors preparing to shoot a scene for an adult film. Data from 2015 suggests an increase in pornography viewing over the past few decades, and this has been attributed to the growth of Internet pornography since widespread public access to the World Wide Web in the late 1990s.[44] Through the 2010s, many pornographic production companies and top pornographic websites[45] – such as Pornhub, RedTube and YouPorn – were acquired by MindGeek, which has been described as "a monopoly".[46]

The scholarly study of pornography, notably in cultural studies, is limited, perhaps due to the controversy about the topic in feminism. The first peer-reviewed academic journal about the study of pornography, Porn Studies, was published in 2014.[47]

Classification Pornography is often distinguished from erotica, which consists of the portrayal of sexuality with high-art aspirations, focusing also on feelings and emotions, while pornography involves the depiction of acts in a sensational manner, with the entire focus on the physical act, so as to arouse quick intense reactions.[1][48][49] Pornography is generally classified as either softcore or hardcore. A pornographic work is characterized as hardcore if it has any hardcore content, no matter how small. Both forms of pornography generally contain nudity. Softcore pornography generally contains nudity or partial nudity in sexually suggestive situations, but without explicit sexual activity, sexual penetration or "extreme" fetishism,[50] while hardcore pornography may contain graphic sexual activity and visible penetration,[51] including unsimulated sex scenes.

Subgenres Pornography encompasses a wide variety of genres. Pornography featuring heterosexual acts composes the bulk of pornography and is "centred and invisible", marking the industry as heteronormative. However, a substantial portion of pornography is not normative, featuring more nonconventional forms of scenarios and sexual activity such as "'fat' porn, amateur porn, disabled porn, porn produced by women, queer porn, BDSM, and body modification."[52]

Pornography can be classified according to the physical characteristics of the participants, fetish, sexual orientation, etc., as well as the types of sexual activity featured. Reality and voyeur pornography, animated videos, and legally prohibited acts also influence the classification of pornography. Pornography may fall into more than one genre. Some examples of pornography genres:

Alt porn Amateur pornography Bondage pornography Ethnic pornography Fetish pornography Group sex Reality pornography Porn parody Sexual-orientation-based pornography Straight porn Gay pornography Lesbian pornography Bisexual pornography Transgender pornography Commercialism Economics Main article: Sex industry Revenues of the adult industry in the United States are difficult to determine. In 1970, a Federal study estimated that the total retail value of hardcore pornography in the United States was no more than $10 million.[53] In 1998, Forrester Research published a report on the online "adult content" industry estimating $750 million to $1 billion in annual revenue. Studies in 2001 put the total (including video, pay-per-view, Internet and magazines) between $2.6 billion and $3.9 billion.[7]

As of 2014, the porn industry was believed to bring in more than $13 billion on a yearly basis in the United States.[54] CNBC has estimated that pornography was a $13 billion industry in the US, with $3,075 being spent on porn every second and a new porn video being produced every 39 minutes.[55]

A significant amount of pornographic video is shot in the San Fernando Valley, which has been a pioneering region for producing adult films since the 1970s, and has since become home for various models, actors/actresses, production companies, and other assorted businesses involved in the production and distribution of pornography.

The pornography industry has been considered influential in deciding format wars in media, including being a factor in the VHS vs. Betamax format war (the videotape format war)[56][57] and in the Blu-ray vs. HD DVD format war (the high-def format war).[56][57][58]

Technology Pornographers have taken advantage of each technological advance in the production and distribution of visual images. Pornography is considered a driving force in the development of technologies from the printing press, through photography (still and motion), to satellite TV, home video, other forms of video, and the Internet.[59]

With commercial availability of tiny cameras and wireless equipment, "voyeur" pornography established an audience.[60][61] Mobile cameras are used to capture pornographic photos or videos, and forwarded as MMS, a practice known as sexting.

Computer-generated images and manipulations See also: Virtual reality sex Digital manipulation requires the use of source photographs, but some pornography is produced without human actors at all. The idea of completely computer-generated pornography was conceived very early as one of the most obvious areas of application for computer graphics and 3D rendering. Further advances in technology have allowed increasingly photorealistic 3D figures to be used in interactive pornography.[62][63][64]

Until the late 1990s, digitally manipulated pornography could not be produced cost-effectively. In the early 2000s, it became a growing segment, as the modelling and animation software matured and the rendering capabilities of computers improved. As of 2004, computer-generated pornography depicting situations involving children and sex with fictional characters, such as Lara Croft, is already produced on a limited scale. The October 2004 issue of Playboy featured topless pictures of the title character from the BloodRayne video game.[65]

3D pornography The first pornographic film shot in 3D was 3D Sex and Zen: Extreme Ecstasy, released on 14 April 2011 in Hong Kong.[66]

Production and distribution by region Main article: Pornography by region

A street stall in Hong Kong selling pornography. The production and distribution of pornography are economic activities of some importance. The exact size of the economy of pornography and the influence that it has in political circles are matters of controversy.

In the United States, the sex film industry is centered in the San Fernando Valley of Los Angeles. In Europe, Budapest is regarded as the industry center.[67][68][69]

Piracy, the illegal copying and distribution of material, is of great concern to the porn industry,[70] the subject of litigation and formalized anti-piracy efforts.[71][72]

Study and analysis See also: Pornography addiction and Effects of pornography Research concerning the effects of pornography is concerned with multiple outcomes.[73] Such research includes potential influences on rape, domestic violence, sexual dysfunction, difficulties with sexual relationships, and child sexual abuse.[74] While some literature reviews suggest that pornographic images and films can be addictive, insufficient evidence exists to draw conclusions.[75][76][77][78] Several studies conclude the liberalization of porn in society may be associated with decreased rape and sexual violence rates, while others suggest no effect, or are inconclusive.[79][80][81][82][83][84][85]

Laws and regulations Further information: Pornography laws by region and Laws regarding child pornography Sex and the law Scale of justice 2.svg Social issues Age of consentAntisexualismBodily integrityCensorshipCircumcisionDeviant sexual intercourseEthicsFreedom of speechHomophobiaIntersex rightsLGBT rightsMiscegenation (interracial relations)Marriageable ageNormsObjectificationPornographyPublic moralityRed-light districtReproductive rightsRight to sexualitySame-sex marriageSex industrySex workers' rightsSexual consent in lawSexual and reproductive health and rightsSurvival sex Specific offences (Varies by jurisdiction) AdulteryChild groomingChild pornographyChild prostitutionCriminal transmission of HIVCybersex traffickingFemale genital mutilationFornicationIncestPimpingProstitution forcedprocuringPublic indecencyRape statutorymaritalSeductionSex traffickingSextingSexual abuse childSexual assaultSexual harassmentSlaverySodomyUK Section 63 (2008)ViolenceTraffickingVoyeurism Sex offender registration Sex offender registrySex offender registries in the United States Portals Sexual orientation - 4 symbols.svg Human sexuality portalJohnny-automatic-scales-of-justice.svg Law portal vte

World map of pornography (18+) laws Pornography legal Pornography legal, but under some restrictions Pornography illegal Data unavailable The legal status of pornography varies widely from country to country.[86][87] Regulating hardcore pornography is more common than regulating softcore pornography.[88] Child pornography is illegal in almost all countries,[89][90] and some countries have restrictions on rape pornography or animal pornography.[90]

Disseminating pornography to a minor is generally illegal.[90] There are various attempts to restrict minors' access to pornography,[90][91] including protocols for pornographic magazines or stores.[90] One way this may be bypassed by minors is that many online sites only require the user to tell the website they are a certain age, and no other age verification is required.[91] The Child Online Protection Act would have restricted access by minors to any material on the Internet defined as harmful to them, but it did not take effect.[91]

Pornographic entertainment on display in a sex shop window, where there is usually a minimum age to go into pornographic stores The adult film industry regulations in California require that all actors and actresses practice safe sex using condoms. It is rare to see condom use in pornography.[92] Since porn does better when actors are unprotected, many companies film in other states. Miami is a major area for amateur porn. Twitter plays a big part in an actor's success: because Twitter does not censor content, actors can post freely without having to self-censor, unlike on Instagram and on Facebook.[93]

In the United States, a person receiving unwanted commercial mail he or she deems pornographic (or otherwise offensive) may obtain a Prohibitory Order,[94] either against all mail from a particular sender, or against all sexually explicit mail, by applying to the United States Postal Service.

Some people, including pornography producer Larry Flynt and the writer Salman Rushdie,[95] have argued that pornography is vital to freedom and that a free and civilized society should be judged by its willingness to accept pornography.

The UK government has criminalized possession of what it terms "extreme pornography", following the highly publicized murder of Jane Longhurst.

Pornography can infringe into basic human rights of those involved, especially when sexual consent was not obtained. For example, revenge porn is a phenomenon where disgruntled sexual partners release images or video footage of intimate sexual activity, usually on the internet, without authorization from the other person.[96] Lawmakers have also raised concerns about "upskirt" photos taken of women without their consent. In many countries there has been a demand to make such activities specifically illegal carrying higher punishments than mere breach of privacy or image rights, or circulation of prurient material.[97][98] As a result, some jurisdictions have enacted specific laws against "revenge porn".[99]

What is not pornography In the U.S., a July 2014 criminal case decision in Massachusetts, Commonwealth v. Rex, 469 Mass. 36 (2014),[100] made a legal determination of what was not to be considered "pornography" and in this particular case "child pornography".[101] It was determined that photographs of naked children that were from sources such as National Geographic magazine, a sociology textbook, and a nudist catalog were not considered pornography in Massachusetts even while in the possession of a convicted and (at the time) incarcerated sex offender.[101]

Drawing the line depends on time and place; Occidental mainstream culture got increasingly "pornified" (i.e. tainted by pornographic themes and mainstream films got to include unsimulated sexual acts).[102]

Copyright status In the United States, some courts have applied US copyright protection to pornographic materials.[103][104] Although the first US copyright law specifically did not cover obscene materials, the provision was removed subsequently.[when?] Most pornographic works are theoretically work for hire meaning pornographic models do not receive statutory royalties for their performances. Of particular difficulty is the changing community attitudes of what is considered obscene, meaning that works could slip into and out of copyright protection based upon the prevailing standards of decency. This was not an issue with the copyright law up until 1972 when copyright protection required registration. The law was changed to make copyright protection automatic, and for the life of the author.[citation needed]

Some courts have held that copyright protection effectively applies to works, whether they are obscene or not,[105] but not all courts have ruled the same way.[106] The copyright protection rights of pornography in the United States has again been challenged as late as February 2012.[103][107]

STI prevention and birth control methods According to the cast of the Netflix documentary "Hot Girls Wanted", most of the actors and actresses get screened for STIs every two weeks. However, it is not required for them to be on birth control. One actress in the film states that after partaking in a "Cream Pie" shot which involves ejaculation in the vagina, she was then instructed to purchase Plan B (emergency contraception pill) to protect herself from pregnancy. These shots pay more, which is why women will take the risk of falling pregnant.[108]

Views Further information: Opposition to pornography

A caricature on "the great epidemic of pornography", 19th-century French illustration Views and opinions of pornography come in a variety of forms and from a diversity of demographics and societal groups. Opposition of the subject generally, though not exclusively,[109] comes from three main sources: law, feminism and religion.

Feminist views Main article: Feminist views of pornography Many feminists, including Andrea Dworkin and Catharine MacKinnon, argue that all pornography is demeaning to women or that it contributes to violence against women, both in its production and in its consumption. The production of pornography, they argue, entails the physical, psychological, or economic coercion of the women who perform in it, and where they argue that the abuse and exploitation of women is rampant; in its consumption, they charge that pornography eroticizes the domination, humiliation and coercion of women, and reinforces sexual and cultural attitudes that are complicit in rape and sexual harassment.[110][111][112]

Sexual exclusionary feminists charge that pornography presents a severely distorted image of sexual relations, and reinforces sex myths; that it always shows women as readily available and desiring to engage in sex at any time, with any man, on men's terms, always responding positively to any advances men make.[113] They argue that because pornography often shows women enjoying and desiring to be violently attacked by men, saying "no" when they actually want sex, fighting back but then ending up enjoying the act – this can affect the public understanding of legal issues such as consent to sexual relations.[114]

Feminists "ranging from Betty Friedan and Kate Millett to Karen DeCrow, Wendy Kaminer and Jamaica Kincaid" supported the right to consume pornography.[115]

In contrast to these objections, other feminist scholars argue that the lesbian feminist movement in the 1980s was good for women in the porn industry.[116] As more women entered the developmental side of the industry, this allowed women to gear porn more towards women because they knew what women wanted, both for actresses and the audience.[116] This is believed to be a good thing because for such a long time, the porn industry has been directed by men for men.[116] This also sparked the arrival of making lesbian porn for lesbians instead of men.[116]

Furthermore, many feminists argue that the advent of VCR, home video, and affordable consumer video cameras allowed for the possibility of feminist pornography.[117] Consumer video made it possible for the distribution and consumption of video pornography to locate women as legitimate consumers of pornography. Tristan Taormino says that feminist porn is "all about creating a fair working environment and empowering everyone involved."[118] Feminist porn directors are interested in challenging representations of men and women, as well as providing sexually-empowering imagery that features many kinds of bodies.[119]

In a 1995 essay for The New Yorker, writer Susan Faludi argued that porn was one of the few industries where women enjoy a power advantage in the workplace. "'Actresses have the power,' Alec Metro, one of the men in line, ruefully noted of the X-rated industry. A former firefighter who claimed to have lost a bid for a job to affirmative action, Metro was already divining that porn might not be the ideal career choice for escaping the forces of what he called 'reverse discrimination.' Female performers can often dictate which male actors they will and will not work with. 'They make more money than us.' Porn – at least, porn produced for a heterosexual audience – is one of the few contemporary occupations where the pay gap operates in women's favor; the average actress makes fifty to a hundred per cent more money than her male counterpart. But then she is the object of desire; he is merely her appendage, the object of the object."[120]

Harry Brod offered a Marxist feminist view: "I would argue that sex seems overrated because men look to sex for fulfillment of nonsexual emotional needs, a quest doomed to failure. Part of the reason for this failure is the priority of quantity over quality of sex which comes with sexuality's commodification."[121]

Religious views Main article: Religious views on pornography Religious organizations have been important in bringing about political action against pornography.[122] In the United States, religious beliefs affect the formation of political beliefs that concern pornography.[123]

Women in the industry The 2012 study "Why Become a Pornography Actress?"[124] analyzed female pornographic film actresses and their reasons for choosing the occupation, finding that the primary reasons were money (53%), sex (27%), and attention (16%).[125] Respondents also stated the aspects of their work which they disliked. These included industry-associated people, e.g., co-workers, directors, producers, and agents, whose "attitudes, behaviors, and poor hygiene [were] difficult to handle within their work environment" or who were unscrupulous and unprofessional (39%); STD risk (29%); and exploitation within the industry (20%).[126]

See also icon Erotica and pornography portal Effects of pornography on relationships Erotic literature Erotic photography Intimate token Sex in advertising Sex-positive feminism Sex worker Eroticism (from the Greek ἔρως, eros—"desire") is a quality that causes sexual feelings,[1] as well as a philosophical contemplation concerning the aesthetics of sexual desire, sensuality, and romantic love. That quality may be found in any form of artwork, including painting, sculpture, photography, drama, film, music, or literature. It may also be found in advertising. The term may also refer to a state of sexual arousal[1] or anticipation of such – an insistent sexual impulse, desire, or pattern of thoughts.

As French novelist Honoré de Balzac stated, eroticism is dependent not just upon an individual's sexual morality, but also the culture and time in which an individual resides.[2][3][4]

Contents 1 Definitions 2 Biological evolution 3 Psychoanalytical approach 4 French philosophy 5 Non-heterosexual 6 See also 7 References Definitions Because the nature of what is erotic is fluid,[5] early definitions of the term attempted to conceive eroticism as some form of sensual or romantic love or as the human sex drive (libido); for example, the Encyclopédie of 1755 states that the erotic "is an epithet which is applied to everything with a connection to the love of the sexes; one employs it particularly to characterize...a dissoluteness, an excess".[6]

Because eroticism is wholly dependent on the viewer's culture and personal tastes pertaining to what, exactly, defines the erotic,[7][8] critics have often[how often?] confused eroticism with pornography, with the anti-pornography activist Andrea Dworkin saying, "Erotica is simply high-class pornography; better produced, better conceived, better executed, better packaged, designed for a better class of consumer."[9] This confusion, as Lynn Hunt writes, "demonstrate the difficulty of drawing… a clear generic demarcation between the erotic and the pornographic": indeed arguably "the history of the separation of pornography from eroticism… remains to be written".[10]

Biological evolution Whereas traditionally eroticism has been dealt with in relation to culture and its pornographic outcomes, current evolutionary psychology shows how eroticism has shaped the evolution of human nature.[11]

Psychoanalytical approach

Eroticism in literature. The Old, Old Story, John William Godward, 1903 Influenced by Sigmund Freud,[12] psychotherapists have turned to Greek philosophy for an understanding of eros' heightened aesthetic.[13] For Plato, Eros takes an almost transcendent manifestation when the subject seeks to go beyond itself and form a communion with the object/other: "the true order of going...to the things of love, is to use the beauties of earth as steps...to all fair forms, and from fair forms to fair actions, and from fair actions to fair notions, until from fair notions he arrives at the notion of absolute beauty".[14]

French philosophy Modern French conceptions of eroticism can be traced to Age of Enlightenment,[15] when "in the eighteenth century, dictionaries defined the erotic as that which concerned love...eroticism was the intrusion into the public sphere of something that was at base private".[16] This theme of intrusion or transgression was taken up in the twentieth century by the French philosopher Georges Bataille, who argued that eroticism performs a function of dissolving boundaries between human subjectivity and humanity, a transgression that dissolves the rational world but is always temporary,[17] as well as that, "Desire in eroticism is the desire that triumphs over the taboo. It presupposes man in conflict with himself".[18] For Bataille, as well as many French theorists, "Eroticism, unlike simple sexual activity, is a psychological quest...eroticism is assenting to life even in death".[19]

Non-heterosexual

Symbolic dance by Jan Ciągliński, late 19th-century lesbian erotica (National Museum in Warsaw). Globe icon. The examples and perspective in this section may not represent a worldwide view of the subject. You may improve this section, discuss the issue on the talk page, or create a new section, as appropriate. (February 2021) (Learn how and when to remove this template message) Queer theory and LGBT studies consider the concept from a non-heterosexual perspective, viewing psychoanalytical and modernist views of eroticism as both archaic[20] and heterosexist,[21] written primarily by and for a "handful of elite, heterosexual, bourgeois men"[22] who "mistook their own repressed sexual proclivities"[23] as the norm.[24]

Theorists like Eve Kosofsky Sedgwick,[25] Gayle S. Rubin[26] and Marilyn Frye[27] all write extensively about eroticism from a heterosexual, lesbian and separatist point of view, respectively, seeing eroticism as both a political force[28] and cultural critique[29] for marginalized groups, or as Mario Vargas Llosa summarized: "Eroticism has its own moral justification because it says that pleasure is enough for me; it is a statement of the individual's sovereignty".[30]

Audre Lorde, a Caribbean-American writer and out-spoken feminist called the erotic a form of power specific to women. "There are many kinds of power [...] The erotic is a resource within each of us that lies in a deeply female and spiritual plane, firmly rooted in the power of our unexpressed or unrecognized feelings".[31] In "The Uses of the Erotic" within Sister Outsider, she discusses how the erotic comes from sharing, but if we suppress the erotic rather than recognize its presence, it takes on a different form. Rather than enjoying and sharing with one another, it is objectifying, which she says translates into abuse as we attempt to hide and suppress our experiences.[32]

See also Erogenous zone Eros Erotic art Erotic humiliation Erotica History of erotic depictions Homoeroticism Limit-experience Pin-up girl Pornography Romance References "Eroticism". Merriam-Webster. Retrieved 7 August 2011. Balzac, "The Physiology of Marriage" (1826), trans. Sharon Marcus (1997), Aphorism XXVI, 65 Grande, L., "Laws and Attitudes towards Homosexuality from Antiquity to the Modern Era", Ponte 43:4-5 (1987), pp. 122-129 Gauthier, Albert, "La sodomie dans le droit canonique medieval" in L'Erotisme au Moyen Age: Etudes presentees au IIe Colloque de l'Institut d'Etudes Medievales, 3-4 Avril 1976, ed. Roy, Bruno (Montreal: Ed. Aurore, 1977), pp. 109-122 Evans, David T., Sexual Citizenship: The Material Construction of Sexualities, (New York: Routledge, 1993) Encyclopédie (1755), quoted in Lynn Hunt ed., Eroticism and the Body Politic (London 1991) p. 90 Foster. Jeannette H., Sex Variant Women in Literature: A Historical and Quantitative Survey 2nd ed., (New York: Vantage Press, 1956) (repr. Baltimore: Diana Press, 1975) Weinberg, M., & A. Bell, Homosexuality: An Annotated Bibliography, (New York: 1972) Dworkin, Andrea (1981). Pornography: Men Possessing Women. p. 39. ISBN 978-0-399-12619-2. Hunt, "Introduction", in Hunt ed., Eroticism p. 4 Miller, Geoffrey (2001). The Mating Mind: How Sexual Choice Shaped the Evolution of Human Nature. London: Vintage. Dollimore, Jonathan, Sexual Dissidence: Augusutine to Wilde, Freud to Foucault (Oxford: Clarendon, 1991), 105-8. Clarendon Press, 1991. ISBN 9780198112693 Hunt, "Introduction", in Hunt ed., Eroticism p. 13 The Symposium, in Benjamin Jowett trans., The Essential Plato (1871/1999), 746. However, note that Jowett's Victorian-era translation has asserted a reading of Plato that tends toward the physical-sex-less (e.g. the current sense of a platonic relationship), compared to later scholars from Walter Pater through Michel Foucault, to the present. See Adam Lee, The Platonism of Walter Pater: Embodied Equity (Oxford University Press, 2020). ISBN 9780192588135; and, again, Dollimore (1991). Coward, D.A., "Attitudes to Homosexuality in Eighteenth Century France", Journal of European Studies 10, pp. 236 ff. Hunt, "Introduction", in Hunt ed., Eroticism p. 3 and p. 5 L'érotisme, by Georges Bataille, Paris (1957: UK publication 1962) ISBN 978-2-7073-0253-3 George Bataille, Eroticism (Penguin 2001) p. 256 Bataille, Eroticism p. 11 Morton, Donald, ed., The Material Queer: A LesBiGay Cultural Studies Reader, (Boulder CO: Westview, 1996) Cohen, Ed, Talk on the Wilde Side: Towards a Genealogy of a Discourse on Male Sexualities, (New York: Routledge, 1999) Flannigan-Saint-Aubin, Arthur. "'Black Gay Male' Discourse: Reading Race and Sexuality Between the Lines". Journal of the History of Sexuality 3:3 (1993): 468-90. Aries, Philippe & Andre Bejin, eds., Western Sexuality: Practice and Precept in Past and Present, (Oxford: Blackwell, 1985; orig. pub. as Sexualities Occidentales, Paris: Editions du Seuil/Communications, 1982) Bullough, Vern L., "Homosexuality and the Medical Model", Journal of Homosexuality 1:6 (1975), pp. 99-110 from Abelove, Henry, Michele Aina Barale, and David Halperin, eds., The Lesbian and Gay Studies Reader, (New York: Routledge: 1993) Eve Kosofsky Sedgewick: Epistemology of the closet, 45 from Abelove, Henry, Michele Aina Barale, and David Halperin, eds., The Lesbian and Gay Studies Reader, (New York: Routledge: 1993) Gayle S. Rubin: Notes for a radical theory of the politics of sexuality, 3 from Abelove, Henry, Michele Aina Barale, and David Halperin, eds., The Lesbian and Gay Studies Reader, (New York: Routledge: 1993) Marilyn Frye: Some reflections on separatism and power, 91 Marshall, John, "Pansies, Perverts and Macho Men: Changing Conceptions of Male Homosexuality", in Kenneth Plummer, ed., The Making of the Modern Homosexual, (London: Hutchinson, 1981), 133-54 Fone, Byrne R.S., "Some Notes Toward a History of Gay People", The Advocate no. 259 (Jan 25, 1979), pp. 17-19 & no. 260 (Feb 28, 1979), pp. 11-13 Mangan, J. A. "Men, Masculinity, and Sexuality: Some Recent Literature". Journal of the History of Sexuality 3:2 (1992): 303-13 Lorde, Audre; Clarke, Cheryl (2007) [1984]. Sister Outsider: Essays and Speeches. New York: Ten Speed Press. p. 53. ISBN 978-1-58091-186-3. Lorde, Audre (2007). "Uses of the Erotic: The Erotic As Power (1984)". Sister Outsider. NY: Ten Speed Press. pp. 53–58.