Jennifer Doyle – författare

The declaration that a work of art is “about sex” is often announced to the public as a scandal after which there is nothing else to say about the work or the artist-controversy concludes a conversation when instead it should begin a new one. Moving beyond debates about pornography and censorship, Jennifer Doyle shows us that sex in art is as diverse as sex in everyday life: exciting, ordinary, emotional, traumatic, embarrassing, funny, even profoundly boring. Sex Objects examines the reception and frequent misunderstanding of highly sexualized images, words, and performances. In chapters on the “boring parts” of Moby-Dick, the scandals that dogged the painter Thomas Eakins, the role of women in Andy Warhol's Factory films, “bad sex” and Tracey Emin's crudely evocative line drawings, and L.A. artist Vaginal Davis's pornographic parodies of Vanessa Beecroft's performances, Sex Objects challenges simplistic readings of sexualized art and instead investigates what such works can tell us about the nature of desire. In Sex Objects, Doyle offers a creative and original exploration of how and where art and sex connect, arguing that to proclaim a piece of art “about sex” reveals surprisingly little about the work, the artist, or the spectator. Deftly interweaving anecdotal and personal writing with critical, feminist, and queer theory, she reimagines the relationship between sex and art in order to better understand how the two meet-and why it matters. Jennifer Doyle is associate professor of English at the University of California, Riverside. She is coeditor, with Jonathan Flatley and JosÉ Esteban MuÑoz, of Pop Out: Queer Warhol.

Andy Warhol was queer in more ways than one. A fabulous queen, a fan of prurience and pornography, a great admirer of the male body, he was well known as such to the gay audiences who enjoyed his films, the police who censored them, the gallery owners who refused to show his male nudes, and the artists who shied from his swishiness, not to mention all the characters who populated the Factory. Yet even though Warhol became the star of postmodernism, avant-garde, and pop culture, this collection of essays is the first to explore, analyze, appreciate, and celebrate the role of Warhol’s queerness in the making and reception of his film and art. Ranging widely in approach and discipline, Pop Out demonstrates that to ignore Warhol’s queerness is to miss what is most valuable, interesting, sexy, and political about his life and work.Written from the perspectives of art history, critical race theory, psychoanalysis, feminist theory, cinema studies, and social and literary theory, these essays consider Warhol in various contexts and within the history of the communities in which he figured. The homoerotic subjects, gay audiences, and queer contexts that fuel a certain fascination with Warhol are discussed, as well as Batman, Basquiat, and Valerie Solanas. Taken together, the essays in this collection depict Warhol’s career as a practical social reflection on a wide range of institutions and discourses, including those, from the art world to mass culture, that have almost succeeded in sanitizing his work and his image. Contributors. Jennifer Doyle, Jonathan Flatley, Marcie Frank, David E. James, Mandy Merck, Michael Moon, JosÉ Esteban MuÑoz, Eve Kosofsky Sedgwick, Brian Selsky, Sasha Torres, Simon Watney, Thomas Waugh

In Hold It Against Me, Jennifer Doyle explores the relationship between difficulty and emotion in contemporary art, treating emotion as an artist's medium. She encourages readers to examine the ways in which works of art challenge how we experience not only the artist's feelings, but our own. Discussing performance art, painting, and photography, Doyle provides new perspectives on artists including Ron Athey, Aliza Shvarts, Thomas Eakins, James Luna, Carrie Mae Weems, and David Wojnarowicz. Confronting the challenge of writing about difficult works of art, she shows how these artists work with feelings as a means to question our assumptions about identity, intimacy, and expression. They deploy the complexity of emotion to measure the weight of history, and to deepen our sense of where and how politics happens in contemporary art. Doyle explores ideologies of emotion and how emotion circulates in and around art. Throughout, she gives readers welcoming points of entry into artworks that they may at first find off-putting or confrontational. Doyle offers new insight into how the discourse of controversy serves to shut down discussion about this side of contemporary art practice, and counters with a critical language that allows the reader to accept emotional intensity in order to learn from it.

Over the course of two years, Jennifer Doyle filed multiple harassment complaints with her campus’s Title IX office and one with the Department of Labor. Her experiences with these complaints and how they subsequently impacted her life have led to this book, Shadow of My Shadow. Doyle tells her personal story, sharing how she lost her sense of voice, felt exposed at work, became distrustful of students and colleagues, and was consumed by grief. Working across autobiography, literary criticism, an analysis of the Larry Nassar Title IX case, and a larger institutional critique of harassment administration, Doyle shows that harassment is at once intimate, dynamic, and intensely social, flourishing in neglected social spaces. In her own case, it profoundly reshaped her relationship to her work, her writing, and ultimately to herself. As Doyle explains, the experience drew out the distance between herself in the world and herself on the page. This book is her effort to understand and repair that breach and to consider how loss and grief can be sources of insight and compassion.

Over the course of two years, Jennifer Doyle filed multiple harassment complaints with her campus’s Title IX office and one with the Department of Labor. Her experiences with these complaints and how they subsequently impacted her life have led to this book, Shadow of My Shadow. Doyle tells her personal story, sharing how she lost her sense of voice, felt exposed at work, became distrustful of students and colleagues, and was consumed by grief. Working across autobiography, literary criticism, an analysis of the Larry Nassar Title IX case, and a larger institutional critique of harassment administration, Doyle shows that harassment is at once intimate, dynamic, and intensely social, flourishing in neglected social spaces. In her own case, it profoundly reshaped her relationship to her work, her writing, and ultimately to herself. As Doyle explains, the experience drew out the distance between herself in the world and herself on the page. This book is her effort to understand and repair that breach and to consider how loss and grief can be sources of insight and compassion.