THE GREAT AMERICAN PIN-UP PDF

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Great American Pinup is a New York Art Gallery Specializing in Pin Up Art, and is a specialty of Louis K. Meisel Gallery. Louis K. Meisel Gallery is a New York Art. They've been exciting generations of men, on calendars and covers, as centrefolds or even on playing cards: pin-ups. This book tells the tale of a. They've been exciting generations of men, on calendars and covers, as centrefolds or even on playing cards: pin-ups. What started as an exercise in oils was.


The Great American Pin-up Pdf

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Great American Pinup. This book tells the tale of a genre as utterly American as the paintings of Edward Hopper, describing its origins and development in detail . Get Free Read & Download Files The Great American Pin Up PDF. THE GREAT AMERICAN PIN UP. Download: The Great American Pin Up. THE GREAT. pin-up art in which they titled The Great American Pin-Up. Containing American pin-up artists, most notably Elvgren, have been called.

Those endless legs! Those bowed feet! Those fetish fashions! Absolute freaks of nature! Posed in the reversed but otherwise exact manner of a Vargas Esquire calendar girl, the portrait manifests many of the complex issues surrounding the feminist appropriation of the pin- up genre. The irony is palpable as the militant antiglamour girl Garo- falo poses with the sultry come-hither stare of the classic pin-up. Of Garofalo's pose and most prominent accessory - a comical pair of satin ears one instantly associates with Esquire's post-World War II cheese- cake successor, Playboy-photographer Smith said: "I envisioned that perhaps she had knocked a Playboy bunny down, stolen her ears, and was smoking a cigarette in victory.

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Her sexuality comes across to me as totally in her control and that is the key. Young feminists may poke fun at the pin- up, but they do so in ways that betray affinities with, even affection for the genre itself. But this limited view ignores several facts about the long history of the women's movement. First, as feminism has always been premised on fighting for equality between the sexes, the role of sexu- ality in sexual inequality has inevitably been addressed by all generations of the movement.

Second, although feminist thinkers have consistently drawn upon women's sexuality as a site of oppression, so too have they posited the nurturance of women's sexual freedom and pleasure as an antidote to the same. Third, as a movement driven by the need to reach, educate, and persuade the masses, popular culture has not been viewed by feminists solely as a reserve of conservative messages to rage against, but also as a powerful tool for offering progressive alternatives to these very messages.

For all these reasons, alongside the protectionist and anti- pornography feminist voices who have rightfully challenged men's his- torical dominance over and access to women's sexuality, anticensorship and prosex voices have existed in the women's movement since its ori- gins to posit women's agency over and right to express their own sexu- ality as a different kind of challenge to male supremacy. Although many shades of opinion and a range of activist positions exist between the antipornography and "sex radical" stances in contemporary feminism, all these positions in today's debate existed long before the second wave of the feminist movement visibly dragged them into academic, political, and popular discourses in the s and s.

Although this genera- tion's use of and impact upon popular culture led to the very interpretive and appropriative strategies of feminists like Nochlin, which in turn led to uses of the pin- up by younger feminists like Smith, the fact is that feminist uses of the genre long predate the popular women's liberation movement.

Alas, no thoroughgoing survey exists to track the history and evolution of feminist uses of the sexualized woman in popular cul- ture to both reflect and affect the larger fight for women's rights.

This book is an effort to fill that void.

While this fact has been recognized by many femi- nist thinkers-indeed, many such media and genres have been avoided by certain feminist artists for these very reasons-few would deny that the same have been and may be strategically used by women to sub- vert the sexism with which they have historically been associated.

Yet the pin- up - because of its simultaneous ubiquity and invisibility, pruri- ent appeal and prudery, artistry and commercialism- has not been so readily granted a feminist interpretation. The genre is a slippery one: it doesn't represent sex so much as suggest it, and these politely suggestive qualities have as a result always lent it to a commercial culture of which feminists have justifiably been wary for its need to cultivate the kind of desire and dissatisfaction that leads to consumption.

But the feminist movement itself has historically been dedicated to the cultivation of desire and dissatisfaction- in its own case, leading to dissent. As such, we should be unsurprised that both the visibility and persuasiveness of the pin- up might be used by a feminist movement that has always sought to inspire broad cultural change.

As a genre asso- ciated almost exclusively with women - due, of course, to its creation and prominence in cultures where women's rather than men's sexuality is considered acceptable for scrutiny-the pin-up has, no less than in- deed, perhaps more than any other cultural representation of women, reflected women's roles in the cultures and subcultures in which it is created.

Because the pin-up is always a sexualized woman whose image is not only mass-reproduced, but mass-reproduced because intended for wide display, the genre is an interesting barometer for Western cul- tural responses to women's sexuality in popular arts since the Indus- trial Revolution, as well as feminist responses to the same. Indeed, the pin-up seems an excellent place to track the history of both heated dis- agreements and remarkable similarities within and between feminist generations precisely because of its longevity, prominence, and mixed meanings in pop culture since the rise of the feminist movement.

When feminist history is viewed through the lens of the popular pin-up, what emerges is a picture of the myriad ways in which women have defined, politicized, and represented their own sexuality in the public eye. And 6 llltrod11ction when the pin-up's popularity is viewed through the lens of feminist his- tory, what emerges is a picture of the myriad ways in which feminist thought has profoundly affected women's sexuality both within and be- yond the women's movement.

Women are no longer to be considered little tootsey wootseys who have nothing to do but look pretty. They are determined to take an active part in the community and look pretty too. Feminist activists and scholars have long tangled with the issue of whether images liberate women from or enforce tra- ditional patriarchal notions of female sexuality.

From Laura Mulvey's psychoanalytical construction of the "masculine gaze" to Andrea Dwor- kin and Catharine MacKinnon's longstanding appeals to broaden both cultural and legal definitions of pornography, there is a wide and influ- ential range of contemporary feminist discourse on the ways in which women are manipulated and victimized through various cultural rep- resentations.

These have led to a popular stereotype of the "feminist view" if there ever were such a monolith of the sexualized woman as a consistently negative one. However, the history and evolution of the women's movement problematizes this stereotype, as women have ac- tively demanded the right to act as free and discerning sexual subjects even as they may be interpreted or serve as another's object of desire.

As the decades that yawn between the statements of Lydia Commander and Salt 'n' Pepa demonstrate, this position has been complicated and consistent in modern women's history. Frueh has articulated this desire succinctly in her writing on the rele- Defmingj Defe11di11g tlze "Fei11ist PiUp" 7 vance of sexuality to the feminist movement: "As long as I am an erotic subject, I am not averse to being an erotic object.

As bell hooks puts this conundrum: "It has been a simple task for women to describe and criticize negative as- pects of sexuality as it has been socially constructed in sexist society; to expose male objectification and dehumanization of women; to de- nounce rape, pornography, sexualized violence, incest, etc. It has been a far more difficult task for women to envision new sexual paradigms, to change the norms of sexuality.

Contemporary artists as varied as Judy Chicago and Renee Cox, Cindy Sherman and Lisa Yuskavage have appropriated icons, objects, and stereotypes that speak to traditions of representing women as sexual creatures.

However, all these artists effectively subvert these methods and image types to assert the pleasure and power feminist women may find in them - a clever bait- and- switch process perhaps best described by art historian Kate Linker as "seduce, then intercept. Historical constructions of female sexuality in both the art world and popular culture have frequently represented womanhood according to patriarchal myths that feminism has sought to deny.

Yet many feminist constructs of female sexuality- in a desire to depart from sexist constructs - have resulted in a visual language pointedly hostile to both sexual desire and women for whom a radical denial of traditional feminine signifiers is itself oppressive.

Surely echoing the frustration of many feminists in this position, artist Barbara Kruger asks: "How do I as a woman and an artist work against the marketplace of the spectacle while residing within it?

On the one 8 Introduction hand, the not entirely correct assumption that the genre exists as a catalyst for heterosexual male desire has made it a kind of visual short- hand for the desirable female.

On the other, the genre also has a history of representing and accepting seemingly contradictory elements- tra- ditional as well as transgressive female sexualities- by imaging ordi- narily taboo behaviors in a fashion acceptable to mass cultural con- sumption and display. While many pin-ups are indeed silly caricatures of women that mean to construct their humiliation and passivity as turn- ens, the genre has also represented the sexualized woman as self- aware, assertive, strong, and independent.

As such, it should come as no sur- prise that in their search for a mediating image between the roles of sub- ject and obj ect, and the languages of transgression and tradition, many contemporary feminist artists have looked to this genre as a mode of self-expression.

That which is affixed to a board or wall for scrutiny or perusal; specifically, a clipping or photograph, usually of an attractive young woman. Designating a photograph, clipping, or drawing used in this manner, or a person who models such picture. According to the recent Webster's definition- little- changed since it first appeared in the dictionary in the pin-up is an image of an indi- vidual meant for display and concentrated observation.

Implied in the dictionary's almost humorously formal description is that the image also generally represents a woman as the subject of such public "scrutiny. Pin-up connoisseur Mark Gabor locates the genre's origins along- ide the development of Western print media in the fifteenth century. Gabor astutely locates the pin-up's ori- gins in the proliferation of popular prints, through which the genre's traditional distinction from the realm of the fine arts is articulated and which made it accessible to lower-to-middle-class audiences.

But these "pin-ups" from the fifteenth to the early nineteenth century generally lack the contemporaneity, ubiquity, and display-worthy modesty that define the modern genre.

It would not be until the Industrial Revo- lution - with its explosion of mass-reproductive print technology and the rise of a formidable middle class in America and Europe to pur- chase them - that a "true" pin-up genre would emerge to both nego- tiate a space for itself between the fine and popular arts and define itself through the representation of a pointedly contemporary female sexuality.

Writer and cultural historian Casey Finch has observed that as the near- obsessive representation of the solitary female in European paint- ing of the nineteenth century rose in visibility and popularity, so too did technological developments in print media, allowing such works to be reproduced and distributed widely and cheaply.

Great American Pinup Gallery

As these fine- art images came to be copied, circulated, and popularized in prints and illustrations, the easily obtained knock-offs became the ideal for what would become the pin-up genre. In Edith Wharton's novel Tlze Age of Itmocence, the narrator's appalled description of an unabashedly sexual and tenuously historicized Adolphe-William Bouguereau nude on a prominent wall of the nouveau-riche Beaufort family's salon re- 10 llltrod11ctio11 minds us why deluxe chromolithographic reproductions of the period's academic nymphs also hung behind bartenders at Victorian and Edwar- dian saloons.

Moreover, Wharton's description of generations-old New York families taking offense at the painting's blatant display in a public room of the house is used as a sign of the Beaufort's "vulgar" bourgeois tastes, unrefined by old-money modesty, which are exposed in their pa- tronage of such a fashionably naughty contemporary work - exposing in turn the designations of class that both the Industrial Revolution and the pin-up would problematize.

She also draws stronger parallels between the pin-up's defining conflation of "high" and "low" cultures and consumption practices in the nineteenth century. In this period, she argues, photographic and illustrated prints in Europe and the United States reflected more than just the expanding spectrum of what both "art" and "class" meant in Western society; they also re- flected a new spectrum of sexual moralities between earlier binaries as well as the establishment of a "fully evolved commodity culture" that often blurred the lines between the classes.

Solomon- Godeau asserts: "Once this equivalence was secured, at a historical moment already consumed by the Baudelairean 'cult of im- ages,' it was at least doubly determined that the distinctive forms of modern mass consumer culture would adapt the image of feminine desirability as its most powerful icon.

Solomon-Godeau defines the resulting genre as "an image type that could be relatively deluxe or relatively crude, but in either case was predicated on the relative isolation of its feminine motif through the reduction or outright elimination of narrative, literary, or mythological allusion The pin-up girl is a specific erotic phenomenon, both as to form and function.

From its birth as a representational genre, the pin- up has served as an image that pointedly eliminates the explicit representation of a sexual act by both eliminating the presence of men and, generally, other women and strategically covering the genital area of the female subject.

The pin- up is a genre associated with mass reproduction, distribution, and consump- tion, meant for at least limited visibility to more than one viewer.

As 12 Introduction an image where explicitly contemporary femininity and implicit sexu- ality are both synthesized and intended for wide circulation and public display, the pin-up itself is an interesting paradox. And impact, after all, is what pin-up art was all about. Still, there's something to be said for quantity too, and this page book has hundreds of fine paintings. Two other quibbles.

This hardback has a printed cover, rather than a paper cover, which to me makes it less classy as a display book. I know, I know, it's a pin-up book, but still. Also, like many art books, all the descriptions the words are in English, German and French. No complaint, but it's worth knowing in advance that many pages are dedicated to this duplication.

By far the best history of the great pin-ups of the world. This book by far exceeded my expectations.

Great American Pinup Gallery

So much so that I just ordered two more to give as gifts. You can't beat this book especially for the price. So thrilled with this download! Too bad I can only read half of it. Anything by or about or including Edward Runci I have to have, he painted 2 portraits of me in the early 80's, I only have one but it's my prized possession.

I knew I would love this book, it is a great price for size and content.

It looks great on my coffee table and though I knew it would be a hit with my pin up loving girlfriends even their husbands and my own couldn't put it down. It's a hit for young adults and the old, male or female.

If you are looking for a conversation piece that will also be a good read curled up in front of the fire on a rainy day, this is your book. See all 83 reviews.

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Louis K. In addition to art, he collects pin-up work. Your Shopping Cart. Don't have an account?

Create your account. Buxom Bombshells Pictures from an age when eroticism was still innocent. View all images 7. In a nutshell In a nutshell. This book tells the tale of a genre as utterly American as the paintings of Edward Hopper , describing its origins and development in detail and showcasing the most important artists.Alas, as the sensational modern woman depicted in Hollywood films gave rise to the creation and enforcement of the movie industry's Hays Code in the early s, industry efforts to avoid the ire of censors would tame her into submission.

There are all kinds of different artist and though some of the pages are not in Enligh we loved looking at all the different styles of pin ups. For this reason, I address feminism's various "waves" less to mark or privilege age-based feminist genera- tions so much as periodize feminism itself.

Beginning with the pin- up's origins in mid-nineteenth- century carte-de-visite photographs of burlesque performers, Buszek explores how female sex symbols, including Adah Isaacs Menken and Lydia Thompson, fought to exert control over their own images. Rebecca Schneider also provides an excellent and extremely thorough theory of feminist appropriations of explicit sexual imagery in Tile Explicit Body i11 Perjomra11ce.

Granted, I agree with Whit- tier's contention that "activists have long taken for granted [that] what it means to call oneself 'feminist' varies greatly over time, often leading to conflict over movement goals, values, ideology, strategy, or individual behavior. In chapter 6 I track ways in which the pin-up genre reflected these changes in ways both subtle and explicit, and to audiences both underground and popular. Embracing the postmodern concept of the potential and "ownership" of one's unique politics and self- expression, as well as the redefmitions of "community" that inevitably 26 Introduction followed, feminism's current and third wave also emerged from this culture to stress the multiple feminisms within the now- sprawling and truly international feminist community.