She saw the garments the Lie had left behind. With meditation comes patience, and with patience you will learn the rest. Join us. Click here to cancel reply.
- Pity in Fin-de-SiËcle French Culture: Liberté, Egalité, Pitié.
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LifestyleDezine remains free and ad-free and takes me hundreds of hours a month to research, write, and sustain. If you find joy and value in what I do and share, please consider supporting with a donation of your choosing, between a cup of coffee and some Trader Joe's snacks:.
We envision a world where every human being has the emotional and financial freedom to live life to the fullest. Our mission is to help the world kick some major ass and have a damn good time along the way. Sign up up for updates and news. Search Lifestyle Dezine Search for:. Their eyes are closed; they appear mournful. Surrounding the couple are cut-outs from magazines: a perfume ad, and a close-up of a vagina, waxed. Here is suicide, jubilantly depicted.
One of the least explicit but most unsettling is SC, Brad Pitt , in which a naked woman rides on the back of a naked man, as though he were a horse.
Indeed, he appears to have four legs like a horse, as well as a mutant fifth leg that appears to be a huge penis. His face is a swirl of dirty pinks and greys; his mouth is a gash in the canvas. His head is tilted back, seemingly in sexual ecstasy. To the left, the front cover of Cowboys and Indians magazine has been pasted onto the canvas, which shows Brad Pitt looking rugged and handsome, staring into the distance, presumably a symbol of what masculinity should be. Both men and women are objectified and degraded in these paintings; this is a warped kind of gender equality, whereby punishment is shared by both sexes.
Inequality is expressed by their varying stages of undress; the women are exposed. She crouches over his face and what appears to be a sock, stuck onto the canvas and painted a sour brown-yellow, emanates out of her anus.
He lies below, his penis erect, his entire face discoloured by faeces. A particularly disturbing cut-out shows a woman wearing a beanie hat with thinly plucked eyebrows: her mouth is open and filled with faeces. Unless you have a fetish for scatology, these paintings become progressively more difficult to look at. The urge to throw up gets stronger. They are disgusting and delirious, but also controlled. These words are scrawled across the canvas in orange, pink and blue, alongside the figure of a naked woman standing on a plinth in a park. The painting appears tame compared to the others; the fetish emerges in her stillness.
She is a human statue. McCarthy seems to be drawing a parallel between classical sculpture and contemporary pornography; in both high and low culture, the naked female body has been objectified and rendered less than human. Despite the violence depicted in these paintings, most of the sex seems consensual. The participants will their own degradation, derive pleasure from it. You can find our Community Guidelines in full here. Want to discuss real-world problems, be involved in the most engaging discussions and hear from the journalists?
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