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The Dirty Hits...(cont.)


KRISTEN LOVELOCK (artist):


It’s just so weird when it comes to sex. Sometimes, when you’re totally dirty, it can be so sexy; you’re filthy, he’s filthy and it’s all just so sexy. Not filthy like scatological filth, but like sweaty filth (male sweat – and even female sweat) – and cum and messy hair and dirty sheets and maybe a dirty bra and soiled knickers. Sometimes it’s all so sexy and other times it’s just so fucking gross.


Why is that?


It’s like art too – sometimes a painting just works, as if by magic, and other times it just doesn’t, even if the palette and subject matter are the same, the energy and sensuality can vary so much. 


It’s hard to pinpoint what makes a really sexy painting. Gallerists are constantly ‘sexing up’ a work to sell it, but for it to actually to embody something genuinely ‘sexy’ is, I think, quite rare. So, when I hear of a sexy painting I usually think it’s something with an expensive price tag. However, Cecily Brown’s paintings are actually sexy and they are really dirty and, at times, quite sensual. 


Tracey Emin and Gustav Klimt do dirty and sexy extremely well – especially work relating to masturbation. Willem de Kooning has a few works that are very sexy and very dirty. It’s those dirty fleshy pinks in ‘Pink Angels’ (1945) all the way up to ‘Woman, Sag Harbor’ (1964). Gerald Davis made that blow job painting, ‘Monica’ (2004) which was so sexy and so dirty. When I first saw the work, I was back and forth between being utterly repulsed and totally turned on. Elke Krystufek is sometimes too dirty or sometimes too sexy – I like this back and forth and occasionally being in the middle.


Tracey Emin

Good Smile Great Come

2000

© the artist

Photo: Stephen White

Courtesy White Cube

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