Journal articles: 'Sex in art History'

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Biernoff, S. "Art, Sex and Eugenics: Corpus Delecti." Social History of Medicine 22, no. 2 (May 28, 2009): 407–9. http://dx.doi.org/10.1093/shm/hkp023.

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Ort, Thomas. "Cubism's Sex: Masculinity and Czech Modernism, 1911–1914." Austrian History Yearbook 44 (April 2013): 175–94. http://dx.doi.org/10.1017/s0067237813000118.

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Among those who interest themselves in modernism in the context of the Austro-Hungarian Empire, Prague is sometimes referred to as the “second city of cubism.” In 1911, at a time when the style was still largely unknown in Europe, an artists’ group devoted to the defense and promotion of the new art was founded in Prague. The members of the Skupina výtvarných umělců, or Visual Artists Group, wrote extensively about cubism in their journal Umělecký mesičník [Art Monthly] as well as in other publications. They sponsored numerous exhibits of the art at home and participated in shows of Czech cubist art abroad. In February 1914, Prague was the site of the largest show of cubist art anywhere in the world up to that time.

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Hayes, Jarrod. "Harems of the Mind: Passages of Western Art and Literature (review)." Journal of the History of Sexuality 10, no. 3 (2001): 601–5. http://dx.doi.org/10.1353/sex.2001.0068.

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Gordon, Terri J. "Fascism and the Female Form: Performance Art in the Third Reich." Journal of the History of Sexuality 11, no. 1 (2002): 164–200. http://dx.doi.org/10.1353/sex.2002.0004.

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Fahlman, Betsy. "Art and the Crisis of Marriage: Edward Hopper and Georgia O'Keeffe (review)." Journal of the History of Sexuality 13, no. 2 (2004): 246–48. http://dx.doi.org/10.1353/sex.2004.0062.

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Collard, Judith. "Spiral Women: Locating Lesbian Activism in New Zealand Feminist Art, 1975-1992." Journal of the History of Sexuality 15, no. 2 (2005): 292–320. http://dx.doi.org/10.1353/sex.2007.0002.

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Pursell, Tim. "Queer Eyes and Wagnerian Guys: Homoeroticism in the Art of the Third Reich." Journal of the History of Sexuality 17, no. 1 (2007): 110–37. http://dx.doi.org/10.1353/sex.2008.0007.

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Theresa Tinkle. "Ovid's Art and the Wife of Bath: The Ethics of Erotic Violence (review)." Journal of the History of Sexuality 19, no. 3 (2010): 568–73. http://dx.doi.org/10.1353/sex.2010.0018.

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Veal, Clare. "Michelle Antoinette, Reworlding Art History: Contemporary Southeast Asian Art after 1990." Southeast of Now: Directions in Contemporary and Modern Art in Asia 1, no. 2 (2017): 181–88. http://dx.doi.org/10.1353/sen.2017.0019.

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Schweitzer, Marlis. "Sex Acts: Reading the History of Female Sexuality through Art and Drama." American Quarterly 59, no. 2 (2007): 443–50. http://dx.doi.org/10.1353/aq.2007.0049.

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Jenabi, Ensiyeh, Mahdieh Seyedi, Ronak Hamzehei, Saeid Bashirian, Mohammad Rezaei, Katayoon Razjouyan, and Salman Khazaei. "Association between assisted reproductive technology and autism spectrum disorders in Iran: a case-control study." Clinical and Experimental Pediatrics 63, no. 9 (September 15, 2020): 368–72. http://dx.doi.org/10.3345/cep.2020.00073.

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Background: Autism spectrum disorder (ASD) is a neurodevelopmental disorder defined by impairments in social interaction and verbal and nonverbal communication.Purpose: Determine the association between use of assisted reproduction technology (ART) and the risk of ASD among children.Methods: This case-control study included 300 participants (100 cases, 200 controls). The control group included women with a child aged 2–10 years without ASD, while the cases were women with a child aged 2–10 years with ASD. We used a researcher-made questionnaire. Data were analyzed using Stata ver. 14 at the 0.05 significance level.Results: In the univariate analysis, there was significant association between child sex, delivery mode, history of preterm delivery, history of using ART, and maternal age at child’s birth and the risk of ASD. After the adjustment for other variables, this association was significant for male sex (2.66; 95% confidence interval [CI], 1.11–4.31; P=0.001) and history of using ART (4.03; 95% CI, 1.76–9.21; <i>P</i>=0.001). Therefore, after the adjustment for confounder variables, there was no significant association between ART and the risk of ASD among children (4.98; 95% CI, 0.91–27.30; <i>P</i>=0.065).Conclusion: After the adjustment for other variables, risk factors for ASD were male sex and history preterm delivery. Thus, there was no significant association between ART and the risk of ASD among children.

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Campbell, Siobhan. "Women, Tradition and Art History in Bali." Southeast of Now: Directions in Contemporary and Modern Art in Asia 3, no. 1 (2019): 77–101. http://dx.doi.org/10.1353/sen.2019.0004.

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McMahon, Keith. "The Art of the Bedchamber and Jin Ping Mei." NAN Nü 21, no. 1 (June 18, 2019): 1–37. http://dx.doi.org/10.1163/15685268-00211p01.

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Abstract The ‘art of the bedchamber’ texts occupy a key place in pre-modern Chinese sexual culture, sharing that place with an even larger body of texts of later origin, the sexually explicit novels and stories of the Ming (1368-1644) and Qing (1644-1911) dynasties, and Jin Ping Mei (The plum in the golden vase) in particular. The two genres – the texts of the bedchamber arts and Ming and Qing erotic fiction – have key commonalities, especially in the governing theme that not only must a man please a woman in sex, but that she is sexually formidable, and that he must be masterful in order to please her. Both genres center on the man’s relations with multiple women. But they differ because what appears as the art of sex in Ming and Qing fiction drastically reinvents the contents and spirit of the classic art of the bedchamber, which promotes sex as the harmonizing of yin and yang for the sake of nourishing health and longevity. Sex is measured and temperate, neither rushed nor violent. The art of sex in Ming and Qing fiction instead focuses on ways in which characters make themselves sexually powerful, usually by means of drugs and/or the use of special techniques, including those that absorb vital essences from their partners. Besides detailing these points, the article will analyze specific traces of the art of the bedchamber in Jin Ping Mei, such as the practices of kissing and absorbing saliva, the adoption of positions of intercourse, and the use of sexual devices, chemicals, and aphrodisiacs.

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Goffen, Rona. "Renaissance Dreams." Renaissance Quarterly 40, no. 4 (1987): 682–706. http://dx.doi.org/10.2307/2862448.

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Family, marriage, and sex—although it seems to me that the sequence is uncertain—are naturally interrelated in life but not always so in art or, for that matter, in art history. While family and marriage have been much discussed in recent years by historians, they have received very little attention indeed from art historians. Sex, on the other hand, we have always had with us. And while all of one's work is self-referential to some extent, whether one is an artist or an historian of art, it may be that this psychological truth carries a particular danger when one is dealing with matters that are so intimate as family, marriage, and sex. Moreover, there is another issue involved when one is concerned with works of art, at least in the Renaissance or in any period when art was made for patrons, and that is precisely the presence of another psyche in the mixture, in addition to that of the artist himself and that of the historian-observer.

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Douglas, Andrea N. "Facing the Nation: Art History and Art Criticism in the Jamaican Context." Small Axe: A Caribbean Journal of Criticism 16 (September 2004): 49–60. http://dx.doi.org/10.2979/sax.2004.-.16.49.

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Haughton, Ann, and Ann Haughton. "Myths of Male Same-Sex Love in the Art of the Italian Renaissance." Exchanges: The Interdisciplinary Research Journal 3, no. 1 (September 17, 2015): 65–95. http://dx.doi.org/10.31273/eirj.v3i1.126.

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Visual culture has much to contribute to an understanding of the history of sexuality. Yet, to date, the depiction of pederasty in the art of the Renaissance has not been covered adequately by dominant theoretical paradigms. Moreover, the interpretive approach of traditional art historical discourse has been both limited and limiting in its timidity toward matters concerning the representation of sexual proclivity between males. This article will address the ways in which Italian Renaissance artistic depictions of some mythological narratives were enmeshed with the period’s attitudes toward sexual and social relationships between men.Particular attention is paid here to the manner in which, under the veneer of a mythological narrative, certain works of art embodied a complex set of messages that encoded issues of masculine behaviour and performance in the context of intergenerational same-sex erotic relationships. The primary case studies under investigation for these concerns of gender and sexuality in this particular context are Benvenuto Cellini’s marble Apollo and Hyacinth (1545), and Giulio Romano’s drawing of Apollo and Cyparissus (1524). By incorporating pictorial analysis, social history, and gender and sexuality studies, new possibilities will be offered for evaluating these artworks as visual chronicles of particular sexual and cultural mores of the period. Furthermore, this article will consider how visual representation of these mythic narratives of erotic behaviour between males conformed to the culturally defined sexual and social roles relating to the articulation of power that permeated one of the greatest milestones in art history.

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Michelle Antoinette. "Intimate Pasts Resurrected and Released: Sex, Death, and Faith in the Art of José Legaspi." Biography 31, no. 1 (2008): 133–60. http://dx.doi.org/10.1353/bio.0.0002.

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Barr, Mischa. "Sex, art and sophistication: the meanings of ‘Continental’ cinema." Journal of Australian Studies 33, no. 1 (March 2009): 1–18. http://dx.doi.org/10.1080/14443050802672486.

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Becker, David, and Heiner Rindermann. "Cognitive Sex Differences: Evolution and History." Mankind Quarterly 58, no. 1 (2017): 83–92. http://dx.doi.org/10.46469/mq.2017.58.1.6.

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Bucknor, Michael. "Staging seduction: Masculine Performance or the Art of Sex in Colin Channer’s Reggae RomanceWaiting in Vain?" Interventions 6, no. 1 (April 2004): 67–81. http://dx.doi.org/10.1080/1369801042000185660.

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Meyer, Richard. "Pier Groups: Art and Sex Along the New York Waterfront, by Jonathan Weinberg." Art Bulletin 102, no. 4 (October 1, 2020): 155–57. http://dx.doi.org/10.1080/00043079.2020.1801056.

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Ker, Yin, Thanavi Chotpradit, Stanley J. O'Connor, Simon Soon, Sarena Abdullah, Roger Nelson, Patrick F. Campos, et al. "Teaching the History of Modern and Contemporary Art of Southeast Asia." Southeast of Now: Directions in Contemporary and Modern Art in Asia 4, no. 1 (2020): 101–203. http://dx.doi.org/10.1353/sen.2020.0005.

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Arondekar, Anjali. "The Sex of History, or Object/Matters." History Workshop Journal 89 (2020): 207–13. http://dx.doi.org/10.1093/hwj/dbz053.

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Abstract The mandate to think of Stonewall as a global historical event within South Asia necessitates a difficult act of translation. Was my goal as a historian of sexuality and South Asia to decentre the primacy of Stonewall with local historical events of import? Or was it more epistemological, to address instead the question of why historical causality and memorialization works differently within the fabular geography that is South Asia? In other words, did the history of the Stonewall riots create more of a political demand on subaltern collectivities to ‘produce’ their own seismic historical event, or did it foreground even further the epistemological divide between the West and the Rest? This brief essay is a meditation on these questions and more.

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Ponce, Francisco. "Queda mucho por ver. El sexo gay en la pantalla." Latente Revista de Historia y Estética audiovisual 20 (2022): 257–73. http://dx.doi.org/10.25145/j.latente.2022.20.10.

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Gay sex has been consistently hidden, censored and manipulated throughout the history of cinema. Rarely dealt with in mainstream cinema, it has nevertheless existed on the fringes of film consumption (art films, indies), reaching only small pockets of spectators. This essay aims to synthesize the presentation of gay sex in the film screen, dwelling first on both the spaces it is associated with and the movies that have attempted to show it, and then looking at several recent films (Weekend, Stranger by the Lake) that adopt different strategies to make it finally visible.

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Parmley, Lauren E., Carly A. Comins, Katherine Young, Mfezi Mcingana, Deliwe Rene Phetlhu, Vijay Guddera, Happiness Mkhize, Harry Hausler, Stefan Baral, and Sheree Schwartz. "Occupational barriers to accessing and adhering to antiretroviral therapy for female sex workers living with HIV in South Africa." Occupational and Environmental Medicine 77, no. 2 (January 7, 2020): 100–106. http://dx.doi.org/10.1136/oemed-2019-105947.

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ObjectivesWhile female sex workers (FSW) are nearly 14 times more likely to be living with HIV than non-FSW, less than 40% of FSW living with HIV are on antiretroviral therapy (ART). We sought to understand how the work environment influences ART access and adherence for FSW in preparation for the Siyaphambili trial.MethodsFSW living with HIV (n=24) and key informants (n=15) were recruited to participate in semistructured in-depth interviews using maximum variation and snowball sampling, respectively. FSW were recruited on key variants including type of sex work venue, primary work time and history of ART use. Data were collected between September and November 2017 in Durban, South Africa. Interviews were audio-recorded, transcribed and translated. Data were then coded applying grounded theory in Atlas.ti.ResultsFSW experienced occupational barriers to adherence including work-related migration, substance use and theft of ART on the job. Fear of wage loss due to HIV disclosure to clients and brothel managers prevented some FSW from accessing ART at their clinic and taking medications while working. FSW employed coping strategies to overcome barriers including sharing ART with colleagues, carrying small supplies of ART and visiting the clinic prior to appointments for ART refills. Further, some FSW received adherence support from colleagues who were also living with HIV.ConclusionsConsidering these occupational pressures on FSW and supporting positive coping strategies are important when designing and implementing HIV treatment programmes. Findings suggest strengthening social cohesion and supporting differentiated care efforts to improve HIV outcomes among FSW living with HIV.

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Merchant-Larios, Horacio, Verónica Díaz-Hernández, and Diego Cortez. "Molecular and Cellular Mechanisms Underlying Temperature-Dependent Sex Determination in Turtles." Sexual Development 15, no. 1-3 (2021): 38–46. http://dx.doi.org/10.1159/000515296.

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The discovery in mammals that fetal testes are required in order to develop the male phenotype inspired research efforts to elucidate the mechanisms underlying gonadal sex determination and differentiation in vertebrates. A pioneer work in 1966 that demonstrated the influence of incubation temperature on sexual phenotype in some reptilian species triggered great interest in the environment’s role as a modulator of plasticity in sex determination. Several chelonian species have been used as animal models to test hypotheses concerning the mechanisms involved in temperature-dependent sex determination (TSD). This brief review intends to outline the history of scientific efforts that corroborate our current understanding of the state-of-the-art in TSD using chelonian species as a reference.

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HARRIS, VICTORIA. "Histories of ‘Sex’, Histories of ‘Sexuality’." Contemporary European History 22, no. 2 (April 4, 2013): 295–301. http://dx.doi.org/10.1017/s096077731300012x.

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For Dagmar Herzog, writing the history of sexuality is an act of rebalancing. Sexuality becomes neither positive nor negative, but ambivalent. Herzog destabilises a dominant ‘narrative of gradual progress’, which misunderstands ‘how profoundly complicated the sexual politics of the twentieth century in Europe actually were’ (p. 2). Instead of a linear chronology, Herzog reveals a twentieth century of cyclical change – revolutionary liberalisations and conservative backlashes occur in quick succession, or even concomitantly. Repression appears even within developments considered liberalising by contemporaries. The ambivalences within ‘progress’ and ‘change’ shape sexuality and its history. A third ambivalence is no less important – happiness. Despite being an act inextricably connected with pleasure, sex does not consistently give rise to happiness.

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Wright, Melissa A. "Sex and the Future of History." Black Scholar 51, no. 4 (October 2, 2021): 32–46. http://dx.doi.org/10.1080/00064246.2021.1972393.

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Budwey, Stephanie A. "Saint Wilgefortis: A Queer Image for Today." Religions 13, no. 7 (July 4, 2022): 616. http://dx.doi.org/10.3390/rel13070616.

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An increasing number of people identify outside of the sex/gender binary, many of whom are in crisis and under attack simply because of how they choose to identify. There are few opportunities for them to experience healing in liturgies, particularly as these liturgies often perpetuate a normative view of the sex/gender binary through language and art. This article offers Saint Wilgefortis as an emancipatory image that offers healing while also transforming ethical attitudes and behaviors toward those who identify outside of the sex/gender binary. First is an examination of the history of the cult of Wilgefortis. This is followed by interpretations of the medieval devotion to Wilgefortis, providing a liberating depiction of someone who blurs boundaries, who is ‘both and neither,’ who is and is not Christ (human and divine), and who is and is not ‘female’ or ‘male.’ Next is an exploration of contemporary portrayals of Wilgefortis, providing a queer, multivalent, and prophetic image for today. Finally, there is a discussion of how Wilgefortis could be incorporated into liturgies that minister especially to those who identify outside of the sex/gender binary while also expanding the imagination of those who struggle to see sex/gender as a spectrum.

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Galeta, Patrik, Jaroslav Bruzek, and Martina Lázničková-Galetová. "Is sex estimation from handprints in prehistoric cave art reliable? A view from biological and forensic anthropology." Journal of Archaeological Science 45 (May 2014): 141–49. http://dx.doi.org/10.1016/j.jas.2014.01.028.

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MacLeod, Catriona. "Sex and Death in Quebec." European Comic Art 5, no. 1 (July 1, 2012): 57–70. http://dx.doi.org/10.3167/eca.2012.050105.

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In comparison to the U.S. market, the trend for autobiographical sequential art arrived late within the history of the francophone bande dessinée. Its rising popularity throughout the 1990s and into the new millennium coincided, and to an extent connected, with another belated development in the French-language industry however: that of the growing presence of the female artist. This article considers the strong presence of life narratives in bandes dessinées created by women, before presenting a case-study examining the manipulation of the medium to an autobiographical end in Québécoise artist Julie Doucet's 1998 Changements d'adresses ['Changes of Addresses']. It considers how, in this coming-of-age narrative set first in Montreal and then New York, Doucet utilises the formal specificity of the bande dessinée to emphasise both the fragmentation and then reintegration of her hybrid enunciating instances. It further examines Doucet's usage of the life-narrative bande dessinée to oppose her representation from that of the disruptive male figures in her life, whose sexual presence in her personal evolution is often connected to images of dysfunction and death, finally suggesting via this examination of Julie Doucet and Changements d'adresses the particular suitability of female-created life narratives to feminist reappropriations of the francophone bande dessinée.

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Sohm, Philip, and Richard E. Spear. "The "Divine" Guido: Religion, Sex, Money and Art in the World of Guido Reni." Art Bulletin 82, no. 2 (June 2000): 358. http://dx.doi.org/10.2307/3051385.

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Krispinsson, Charolotta. "Temptation, Resistance, and Art Objects: On the Lack of Material Theory within Art History before the Material Turn." Artium Quaestiones, no. 29 (May 7, 2019): 5–23. http://dx.doi.org/10.14746/aq.2018.29.1.

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Niccolò di Pietro Gerini's painting “The Temptation of Saint Anthony” (1390-1400) serves as a point of departure for this essay. It depicts Saint Anthony during a lapse of self-control as he attempts to resist an alluring mound of gold. Since the mound is in fact made of genuine gold leaves applied to the painting's surface, it works both as a representation of temptation as well as an object of desire affecting the beholder. The aim of this essay is to explore different approaches to materiality before the material turn within the art history discipline by examining two opposing directions within the writing and practice of art history: the tradition of connoisseurship; and the critique of the fetish within the theoretical apparatus of new art history and visual culture studies of the 1980s and 90s. As an expression of positivism within art history, it is argued that connoisseurship be considered within the context of its empirical practices dealing with objects. What is commonly described as the connoisseur's “taste” or “love for art” would then be just another way to describe the intimate relationship formed between art historians and the very objects under their scrutiny. More than other humanist disciplines, art history is, with the possible exception of archaeology, an object-based discipline. It is empirically anchored in the unruly, deep sea of objects commonly known as the history of art. Still, there has been a lack of in-depth theoretical reflection on the materiality of artworks in the writings of art historians before the material turn. The question however, is not ifthis is so, but rather, why?In this essay, it is suggested that the art history discipline has been marked by a complicated love-hate relationship with the materiality of which the very objects of study, more often than not, are made of; like Saint Anthony who is both attracted to and repelled by the shapeless mass of gold that Lucifer tempts him with. While connoisseurship represents attraction, resistance to the allure of objects can be traced to the habitual critique of fetishism of the first generations of visual culture studies and new art history. It reflects a negative stance towards objects and the material aspect of artworks, which enhanced a conceived dichotomy between thinking critically and analytically in contrast to managing documents and objects in archives and museum depositories. However, juxtaposing the act of thinking with the practice of manual labour has a long tradition in Western intellectual history. Furthermore, it is argued that art history cannot easily be compared to the history of other disciplines because of the simple fact that artworks are typically quite expensive and unique commodities, and as such, they provoke not just aesthetic but also fetishist responses. Thus, this desire to separate art history as a scientific discipline from the fetishism of the art market has had the paradoxical effect of causing art historians to shy away from developing methodologies and theory about materiality as an act of resistance.

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Gajewska, Grażyna. "„TRZECIA KULTURA” W DOBIE POSTHUMANIZMU I TRANSHUMANIZMU." Studia Europaea Gnesnensia, no. 17 (June 15, 2018): 99–115. http://dx.doi.org/10.14746/seg.2018.17.6.

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Since the mid-twentieth century, there has been a discussion in the academy about “two cultures”: humanities and sciences and the so-called third culture. In this article I outline the history of this debate. I also present new trends in contemporary humanistic reflection: posthumanism and transhumanism, which are based on interdisciplinary research. I am also describing the projects and the output of several currents of contemporary art: robotic art, bio art and bio-robotic art.

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Chotpradit, Thanavi. "A Dark Spot on a Royal Space: The Art of the People’s Party and the Politics of Thai (Art) History." Southeast of Now: Directions in Contemporary and Modern Art in Asia 1, no. 1 (2017): 131–57. http://dx.doi.org/10.1353/sen.2017.0004.

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Nanay, Bence. "Internal History versus External History." Philosophy 92, no. 2 (February 13, 2017): 207–30. http://dx.doi.org/10.1017/s0031819117000067.

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AbstractThe aim of this paper is to generalize a pair of concepts that are widely used in the history of science, in art history and in historical linguistics – the concept of internal and external history – and to replace the often very vague talk of ‘historical narratives’ with this conceptual framework of internal versus external history. I argue that this way of framing the problem allows us to see the possible alternatives more clearly – as a limited number of possible relations between internal and external history. Finally, I argue that while external history is metaphysically prior to internal history, when it comes to historical explanations, we need both.

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Kovitz, Kasper. "Nuns fret not…" ARTMargins 2, no. 2 (June 2013): 121–36. http://dx.doi.org/10.1162/artm_a_00054.

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Nun's Fret Not is a photomontage project that tells the story of a nun who, following an epiphany, embarks with her convent on becoming a “missionary artist” through a study-by-mail artist's course, and her subsequent disillusionment. A continuation of the work begun in icehouse in 2010, it re-contextualizes Kovitz's previous art work into a meta-narrative that examines recurrent themes in his art practice: artist and audience, success and obscurity, art market and art education, dominant cultures and subcultures. All characters in this project share the same face– the face of Litmus– an alter ego Kovitz made for his work based on an FBI shooting target. In the next installment of this project the nun will undergo a sex change and become a capitalist…

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Boyd, Nan Alamilla. "Same-Sex Sexuality in Western Women's History." Frontiers: A Journal of Women Studies 22, no. 3 (2001): 13. http://dx.doi.org/10.2307/3347235.

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Gagnon, John H. "Solitary Sex: A Cultural History of Masturbation." Archives of Sexual Behavior 34, no. 4 (August 2005): 471–73. http://dx.doi.org/10.1007/s10508-005-4354-8.

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Antoinette, Michelle. "Endurance and Overcoming in the Art of Amron Omar and Melati Suryodarmo: Invoking Uncommon Alignments for Contemporary Southeast Asian Art History." Southeast of Now: Directions in Contemporary and Modern Art in Asia 1, no. 1 (2017): 81–129. http://dx.doi.org/10.1353/sen.2017.0003.

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Holdengräber, Paul. ""A Visible History of Art": The Forms and Preoccupations of the Early Museum." Studies in Eighteenth-Century Culture 17, no. 1 (1988): 107–17. http://dx.doi.org/10.1353/sec.1988.0007.

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Saussy, Carolyn. "The History of Sex in American Film." Journal of Popular Culture 41, no. 3 (June 2008): 557–59. http://dx.doi.org/10.1111/j.1540-5931.2008.00534_13.x.

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Notebaard, Jamilla. "DE KUNST VAN HET GEPROJECTEERDE BEELD." De Moderne Tijd 4, no. 1 (January 1, 2020): 88–107. http://dx.doi.org/10.5117/dmt2020.1-2.006.note.

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Abstract The Art of the Projected Image The optical lantern as a didactic instrument in the Art History lectures of Willem Vogelsang (1875-1954) The optical lantern was the central medium through which Art History professor Willem Vogelsang (1875-1954) taught his students ‘how to see’. As the first ordinarius in Art History in the Netherlands, Vogelsang focused on creating the right educational setting to turn his students into professional art historians. In his lectures the optical lantern and its projected images functioned as a didactic instrument to make his students (visually) understand compositional and stylistic differences and similarities within and between artworks. The lantern allowed Vogelsang to visually open up the world of art history to a whole new generation of art historians.

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Hyman, Aaron M., and Dana Leibsohn. "Lost and Found at Sea, or a Shipwreck’s Art History." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 28, no. 1 (March 1, 2021): 43–74. http://dx.doi.org/10.1086/718016.

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Suciu, Silvia. "Afacerea artei. Piața de artă în Țările de Jos în sec. al XVII-lea." Anuarul Muzeului Etnograif al Transilvaniei 32 (December 20, 2018): 232–65. http://dx.doi.org/10.47802/amet.2018.32.15.

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The art market is a system by which the artwork reaches the public - collectors, museums, public institutions. Thus, the artwork becomes “merchandise” and its journey begins in the artist’s workshop and ends by being shown to the public. During centuries, the art market has registered many changes, according to different factors, such as: political regimes, economical and social crises, artistic tastes of the collectors. Until the 16th century, the public of the artwork was the church, the royal families or the aristocracy; in time, the work of art gained a wider audience. At the beginning, the transactions on the art market were made between the artist-producer and the commissioner-buyer. The market evolved and between the artist and the commissioner have interfered other persons or institutions such as the merchant, the dealer, auction houses, galleries. There are collectors in the history of art that started from the idea of making their own collections, building up powerful empires that promote and sell artists and their works. Depending on centuries or historical moments, the “rules of the game” have changed, and the evolution of the art market has led to the evolution of collective and individual perception of the artwork. As the rules and principles of the actual art market begun in Netherlands, in 16th-17th centuries, this article intends to study the historical context that has led to the evolution of the art market.

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Taws, Richard. "Sex Sells." Oxford Art Journal 29, no. 1 (March 1, 2006): 142–44. http://dx.doi.org/10.1093/oxartj/kci053.

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Gordon, Harvey, and Don Grubin. "Psychiatric aspects of the assessment and treatment of sex offenders." Advances in Psychiatric Treatment 10, no. 1 (January 2004): 73–80. http://dx.doi.org/10.1192/apt.10.1.73.

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Training in general and forensic psychiatry in the assessment and treatment of sex offenders is in need of considerable improvement. Although most sex offenders are not mentally ill, many are subject to substance misuse, abnormal personality traits, personality disorder, learning disability or dysphoric mood, and in some organic factors will be involved. Comprehensive assessment of sex offenders includes a full history and mental state evaluation, obtaining a collateral history from other sources, observation, psychometric testing, and psychophysiological methods of assessment, including penile plethysmography. Trials of the use of the polygraph are also under way. The treatment of sex offenders, especially those with paraphilias, may include medication with selective serotonin reuptake inhibitors or anti-libidinal agents. Ethical considerations can be problematic, but a balance can often be found between the welfare of the offender and the safety of the public.

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Nkalubo, Jonathan, Moureen Mugaba, Ignatius Asasira, Racheal Nakiganda, Florence Namutebi, Nick Ntore Arnaud, Nicholas Kagumba Musisi, et al. "Factors associated with readiness to start antiretroviral therapy (ART) among young people (15-24 years) at four HIV clinics in Mulago Hospital, Uganda." African Health Sciences 21, no. 4 (December 14, 2021): 1603–14. http://dx.doi.org/10.4314/ahs.v21i4.14.

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Introduction: Globally, the HIV burden continues to rise among young people despite the discovery of ART. This study assessed demographic and psycho-social factors among young people associated with readiness to be initiated on ART. Methods: A quantitative cross-sectional study was conducted among newly diagnosed HIV positive young people aged 15-24 years at 4 HIV clinics at Mulago Hospital. Readiness was measured as a self-report by the individual to the question,“How ready do you feel to start ART? Results: Of the 231 young people enrolled, the mean age (SD) was 20.7years (+/-2.8) and most were female (66.2%). Majority were very ready (53.3%) and very motivated (51.1%) to start ART. Higher treatment readiness was associated with being female (95% CI [5.62, 8.31], p=0.003), thinking that ART cures HIV (95% CI [0.43, 0.86], p=0.005), history of having unprotected sex (95% CI [0.79, 0.87], p=<0.001), anticipating negative HIV results (95% CI [0.26, 0.88], p=0.017), internalized stigma (95% CI [0.83, 0.98], p=0.018) and knowledge of positive ART effects for others (95% CI [0.84, 0.93], p=<0.001). Conclusions: Understanding the underlying factors associated with ART readiness among young people can inform strategiesto support and increase individuals’ readiness to initiate ART and early engagement in care. Keywords: Antiretroviral therapy Readiness; Young people; Sub-Saharan Africa.

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Walcott, Rinaldo. "The Black Aquatic." liquid blackness 5, no. 1 (April 1, 2021): 63–73. http://dx.doi.org/10.1215/26923874-8932585.

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Abstract This essay argues that thinking through black diasporic life as birthed through a unique and ongoing relationship with bodies of water (sea, oceans, rivers, creeks) can and does aid in analyses of contemporary art and its engagement with black subjectivity. I am concerned with how bodies of water are foundationally formative of blackness. And secondarily I pursue how this foundational aspect of blackness is both an act of representation worth engaging contemporary art and also a limit on what some representations of contemporary art can do to undo the brutal history of the aquatic birth of blackness and its perpetuation.

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Teasdale, Chloe A., Kirsty Brittain, Allison Zerbe, Claude Ann Mellins, Joana Falcao, Aleny Couto, Eduarda Pimentel De Gusmao, et al. "Characteristics of adolescents aged 15-19 years living with vertically and horizontally acquired HIV in Nampula, Mozambique." PLOS ONE 16, no. 4 (April 26, 2021): e0250218. http://dx.doi.org/10.1371/journal.pone.0250218.

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BackgroundAdolescents living with HIV (ALHIV) 15–19 years of age are a growing proportion of all people living with HIV globally and the population includes adolescents with vertically acquired HIV (AVH) and behaviorally acquired HIV (ABH).MethodsWe conducted a survey to measure sociodemographic characteristics, educational status, health history, and antiretroviral therapy (ART) adherence among a convenience sample of ALHIV at three government health facilities in 2019 in Nampula, Mozambique. ALHIV 15–19 years on ART, including females attending antenatal care, were eligible. Routine HIV care data were extracted from medical charts. Classification of ALHIV by mode of transmission was based on medical charts and survey data. ALHIV who initiated ART <15 years or reported no sex were considered AVH; all others ABH. Frequencies were compared by sex, and within sex, by mode of transmission (AVH vs. ABH) using Chi-square, Fishers exact tests and Wilcoxon rank-sum tests.ResultsAmong 208 ALHIV, 143 (69%) were female and median age was 18 years [interquartile range (IQR) 16–19]. Just over half of ALHIV (53%) were in or had completed secondary or higher levels of education; the most common reason for not being in school reported by 36% of females was pregnancy or having a child. Of all ALHIV, 122 (59%) had VL data, 62% of whom were <1000 copies/mL. Almost half (46%) of ALHIV reported missing ARVs ≥ 1 day in the past month (62% of males vs. 39% of females; p = 0.003). Just over half (58%) of ALHIV in relationships had disclosed their HIV status: 13% of males vs. 69% of females (p<0.001). Among sexually active males, 61% reported using a condom at last sex compared to 26% of females (p<0.001). Among female ALHIV, 50 (35%) were AVH and 93 (65%) were ABH, 67% of whom were not in school compared to 16% of ABH, (p<0.001).DiscussionData from our study underscore the high level of deprivation among ALHIV enrolled in HIV care in Mozambique, as well as important disparities by sex and mode of transmission. These data can inform the development of effective interventions for this complex and important population.

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Journal articles on the topic 'Sex in art History'

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