New York

John Waters

American Fine Arts

With Inga #3 (Five Close-ups), Inga #2 (Three Close-ups), and Inga #1 (Shall we make love?) [all 1994], John Waters discerns new possibilities in the Swedish softcore porn classic by displaying shots of the scenes that make it “his.” Inga: a wild discipline; ruthless abandon; a stiletto sense of pleasure’s drives. With these photos (“little movies” because they mimic film’s multiple frames), Waters remembers the profound liberation of moviegoing (too many have forgotten cinematic hedonism is thinking, not a psychic misdemeanor) while demonstrating that his esthetic, though it revels in trash, glitter, and moldy wonders, is motivated by elegance and an acetylene purity. Look at Chesty, 1993: the brilliance comes from surrounding her bottomy bosom with the only thing as resonant—blank space.

Waters has no truck with anhedonia. He insists that we renegotiate desire, question why we desire at

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