Visualizing Voyeurism: Authored by Emily Mendelson and Eta Pastreich, Binghamton UniversityMain Menu"Visualizing Voyeurism"What is Voyeurism?Opening ViewParisian TypesNudes AlbumMyths and Biblical Themes ViewMyths and Biblical ThemesIntimacy Corner ViewThe Rise and Fall of the 3rd StreamEmbraceThe Captivating Desire: AIDS #4Rooftop SunbatherFeminist Photography ViewUntitled Film StillsGallery Wall of SketchesThe Desublimation of RomanceDanae and the Golden Shower; VitrineGallery Wall ViewPainter Sketching and Nude Model in a HatMeet the AuthorsBinghamton University Art Museum Fair Use StatementHilary Becker8acde8ddd866de3e1500ef02591b1ae693bb7788Written by Emily Mendelson and Eta Pastreich, Binghamton University
Embrace
1media/1974.9_thumb.jpg2020-05-04T12:50:24-07:00Emily Mendelsondf4e2cd2c9dea5ae8f1ce363794d93386798b8e8373371Lovis Corinth, (German, 1858 – 1925), Embrace, 1915, Etching, 7 1/8 x 6 ¼ inches, Gift of Mrs. Leo Guttman, Source: Binghamton University Art Museumplain2020-05-04T12:50:24-07:00Emily Mendelsondf4e2cd2c9dea5ae8f1ce363794d93386798b8e8
This piece displays the intimacy of an embrace in a way that frontally centralizes the female for the viewer. She is embraced, yet still exposed, which suggests that the viewer is the one who is embracing her rather than her depicted lover. Voyeurism within intimate spaces allows the viewer to position themselves within the perceived state of intimacy. Through this personal projection the viewer can begin to understand the artist’s intention and the work itself. This piece depicts an intimate moment of a heterosexual partnership while the Copoulos piece to the right displays a queer intimate relationship. Take note of the differing reactions you may have to these works, and try to question why and how they differ.
