Sex
The writer on seeking queer lineage, public sex as collective defiance, and autobiography as accumulation.
Sick and smelly / I dip my finger into my belly button / and it seems to go forever // Not a shallow cup this is just / AttemptS just attempts to remember / what it was like to be pastel
Sex as ecstasy and trap.
Building empathy through simulated pickup artistry.
They say that, for the longest time, Enrique didn’t know he was a superman. What he understood was that men liked his dick.
Lucy and Kit sat waiting side by side on a black leather couch, before a long glass window that looked out over Tribeca, the winter sun in their laps. Kit stole sideward glances at Lucy, who hummed, twisting her hair around her fingers in a compulsive fashion.
Sex objects, dead zones, and trace fossils.
Emily Hoffman reviews works from performance artists Rebecca Patek and Miguel Gutierrez at the 2014 American Realness festival
Filmmaker Guiraudie on his upcoming feature Stranger by the Lake, a story of love pushed to extremes.
Andrea Ray speaks to Matthew Buckingham about 19th century sexual freedom, the caring economy and her recent exhibition, Utopians Dance.
Seduction and Its Immediate Consequences
One April in autumn you were my story for hours.
Filmmakers and friends Swanberg and Decker—who both have features at the 2013 La Di Da Film Festival—discuss the immorality of not making comedies and the challenges of making sexually charged films.
Mark Mulroney discusses vintage Playboys, Catholicism and the comic side of blood.
With OPEN, director Jake Yuzna peels back the skin of love and sex in the modern age, giving audiences a glimpse of what the future holds—on the silver screen and beyond.
This First Proof contains the short story “Monsters of the Deep,” by Elissa Schappell.
Hervé Le Tellier’s two recent works, Enough About Love and The Sextine Chapel, present an intellectual, geometrically woven, and wholly stimulating take on erotic-lit.
An excerpt from Roberto Bolaño’s new collection of poetry, Tres, out from New Directions.
Hirschhorn’s site-specific, hyper-saturated installations enjoy what he calls “wastefulness as a tool or weapon.”
