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Books on the topic 'Masochism in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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1

Romanov, Andrey. Mystery of masochism: Art of sex. 2nd ed. Guyon Books, 1997.

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2

Bruno, Schulz. Bruno Schulz, 1892-1942: Das graphische Werk. Edited by Chmurzyński Wojciech, Dutsch Mikolaj, Bonard Waldemar, Muzeum Literatury im. Adama Mickiewicza w Warszawie., Kunstamt Tiergarten, and Münchner Stadtmuseum. C. Hanser, 1992.

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3

Kaliś, Natalia. Pan niewolnik: Męski masochizm w performance okresu PRL-u. Instytut Sztuki PAN, 2018.

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4

Augsburger, Janis. Masochismen: Mythologisierung als Krisen-Ästhetik bei Bruno Schulz. Wehrhahn Verlag, 2008.

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5

Peter, Weibel, and Neue Galerie am Landesmuseum Joanneum., eds. Phantom der Lust: Visionen des Masochismus. Neue Galerie Graz am Landesmuseum Joanneum, 2003.

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6

Luckow, Dirk, editor, writer of foreword, Deichtorhallen Hamburg, and Sammlung Falckenberg, eds. Ralf Ziervogel: As if. Snoeck Verlagsgesellschaft mbH, 2018.

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7

Masochism: The art of power. Praeger, 1997.

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8

BDSM Bondage Discipline Sadism Masochism Art. Independently Published, 2022.

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9

Mitchell, Jennifer. Ordinary Masochisms. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066677.001.0001.

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Ordinary Masochisms argues for literary alternatives to pervasive dictatorial norms about masochism that first surface in Victorian literature, reach their pioneering pinnacle in the modernist moment, and are expressly mourned in post-modern texts. In particular, the literary works discussed all challenge the more popular term “sadomasochism” as a conglomerate form of perversion that was named and studied in the late nineteenth century. Underscoring close textual analyses with modern theories of masochism as empowering, this book argues that Charlotte Brontë Villette (1853), George Moore’s A D
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10

Contract with the skin: Masochism, performance art, and the 1970's. University of Minnesota Press, 1998.

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11

Ralf Ziervogel: Horst Janssen Print Prize Awarded by the Claus Hüppe Foundation. Kerber Verlag, 2016.

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12

Ralf Ziervogel: Every Adidas Got Its Story. Verlag der Buchhandlung Walther Konig, 2009.

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13

Watson, Gray. Art and Sex. I.B.Tauris & Co. Ltd, 2008. http://dx.doi.org/10.5040/9781350520424.

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In this ‘no-holds barred’ volume Gray Watson surveys the vast array of images of sex and sexuality in contemporary art. He finds sex in some surprising places and draws some fascinating conclusions. His initial consideration of contemporary art's focus on the body leads to an exploration of the important contributions made by the feminist and queer movements. He uncovers sex in the city, sex in nature, and the intimate relationship between sex and the sacred. Looking into representations of ‘taboo’ sexualities including sado-masochism, voyeurism and exhibitionism, Watson argues that such image
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14

Flyfishers Are Masochists! Books on Demand GmbH, 2014.

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15

Rivera, Takeo. Model Minority Masochism. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197557488.001.0001.

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There are few grand narratives that loom over Asian Americans more than the “model minority.” While many Asian Americanist scholars and activists aim to disprove the model minority as “myth,” author Takeo Rivera instead rethinks the model minority as cultural politics. Rather than disproving the model minority, Rivera instead argues that Asian Americans have formulated their racial and gendered subjectivities in relation to what Rivera terms “model minority masochism.” Rivera details two complementary forms of contemporary racial masochism: a self-subjugating masochism which embraces the model
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16

Weisband, Edward. On the Slippery Tropes of We-ness. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190677886.003.0010.

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The performative aesthetics of transgression occur as perpetrators “will” the unwillable desire of the introjected m(Other) experienced in fantasy in modes that include superegotistical enjoyment projected outward in forms of sadistic cruelty. Such macabresque pursuits assume surrogate forms of desire, in surplus cruelty, in the gratuitous sadism of absolute power. Superegotistical desire and its “enjoyment” are sustained by supererogatory reifications that revel in moral masochism and sadistic moralism. This leads to macabresque aesthetics and theatricality of performative transgression since
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