Exhibitions
Auckland
JOHN TARLTON
EROTIC ART EAST AND WEST ANCIENT AND MODERN
EROTIC POTTERY, AN EXHIBITION OF SENSUOUS FORMS
In two exhibitions exploring the erotic motif in visual arts and crafts, recently held in Auckland, the works which best succeeded were those which relied upon imagination, satire, and wit, using sensuous shapes and associations to convey erotic messages. In turn, the weakest pieces depended upon quasi-realistic depictions of penises or vaginas. We, as a society, (despite the puritanical efforts of a few) have become too sophisticated in our understanding of sensual material to be intellectually stimulated by renditions of genitalia inspired by diagrams from old medical journals.
The Barrington's exhibition was a mixed-media presentation of over one hundred works. Such prominent artists as Picasso, Maillol, Kunisada, Kitaj, Oldenburg, as well as contemporary Japanese and New Zealand artists were represented.
Perhaps the highlight of the exhibition was Claes Oldenburg's graphic series entitled, Etchings in the Heroic/Erotic/ Academic/Comic Style 1974-75. These were humorous, linear, intaglio prints which rep- resented female forms cavorting with various phallus shapes. The line work was subtle and sensitive, and Oldenburg's use of ink colours such as pink, indigo blue, astral blue, mauve, vermilion, and yellow ochre added additional exotic dimensions.
Other works of interest were R.B. Kitaj's selection of lithographs in various proof states, Peter Bromhead's satirical account of a strip tease act, and Peter Nicholl's wood sculpture Arched Torso.
The ancient Eastern artists were of interest in a historical context, and there was an excellent series of prints based upon the theme Marilyn Monroe as Sex Object of the Western World, by various young Japanese artists.
At the Alicat exhibition, pottery and carving was presented which was based upon erotic connotations. Generally, these pieces were less controversial than work presented at the Barrington, with possible exception of a few delicately-carved clitoral pendants. Again, the most successful pieces were those which played down obvious phallus - orientated pottery, and relied upon wit and innuendo. Most of the pots, teapots, jars, and vases were designed with bulging handles or sensuous, concaving walls. Eroticism was also communicated by the professional use of reliefs and glazes.
Dean Ashford's whimsical ceramic house Number 69 was complete with electrical red light and street walkers. Her use of different textures to simulate wood, roofing, and windows was refined and convincing. Other notable contributions to the erotic theme of the exhibition were Sally Vinston's teapots with pubic hair, Doris Dutch's stamped 'sex- pots', and Liadan Cotter's 'touch toy'.
Originally published in Art New Zealand 2 October/November 1976