new-york

Club 90

Franklin Furnace

Much of the argument against visual pornography centers on the presumption that it panders to the onlooker’s desire to objectify, to “possess” or “know” the object of vision, a form of ravishment which casts the woman, who has no way of parrying the look or of presenting her own desires, in the role of victim. This demanding gaze is not of course restricted to pornography, being intrinsic to our relation to photographic representation whatever the subject, but when the look aims specifically for sexual gratification, it exposes the Western ambivalence to the separation of sex from a socially preferred attachment to love relationships. What, however, is the story from the other side of the camera? What are the attitudes and feelings of the women who place themselves, presumably willingly, in this position of apparent victim?

“Deep Inside Porn Stars,” one of the performances presented by

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