Porn parodies of famous drawings

Paul Schuurmans was a Belgian comic artist, who in the 1970s and 1980s gained notoriety with sex parodies of famous comic characters. He is best known for 'De Sex Avonturen van Lucky Luke' (1975), 'Tarzoen' (1977) and 'Sex in Smurfenland' (1978), spoofs of…

Prudish pearl-clutchers and stodgy lawmakers have been attempting to separate porn from art for centuries. Any purported difference between the two can be hard to articulate, but as one Justice Potter Stewart famously proclaimed during a 1964 obscenity trial over the film

“There’s a treasure trove of erotic art around the world – depicting nudes, orgies, and more – that’s not available on Pornhub. These pre-Internet art pieces are currently sitting in museums, which we are now finally able to start visiting again as Covid restrictions are starting to lift ,” said Asa Akira, adult performer and Pornhub Brand Ambassador, in a press release. Visitors can follow Classic Nudes through any of six of the world’s most famous art museums, including The Louvre, The MET, The Prado, The Uffizi Gallery, The British Museum and the Musee d’Orsay (France). Pornhub’s guided tour of the nude paintings that have always been among some of the art world’s most revered masterpieces will guide museum visitors right past SFW landscapes and still-lifes and straight to the good stuff. “As people start to head back to The Louvre or The MET, they can simply open Classic Nudes, and I’ll be their guide,” said Akira. “Time to ditch those boring self-tour recordings and enjoy every single brushstroke of these erotic masterpieces with me.”

While generations of societal messaging telling us that porn is “bad” and art is “good” may make it seem odd or even scandalous for porn and art to finally come together in this way, the delineation between porn and erotic “art” has never been anything more than a sex-negative social construct. As we well know, mankind has been crafting representations of sex and nudity

Barry Reigate’s riotous canvases are pop porn at its best. Envisioning a Russ Meyers-like heaven, Reigate’s paintings disseminate a hilarious bachelor night bravado, where disembodied breasts, party favourites, and cartoon ephemera become the objects of satiation for fumbling, letchy Mickey Mouse hands. Presenting the macho fetishism of painting with a humorous twist, Reigate embraces the abjection of Philip Guston, George Condo, and Sean Landers; his debased subject providing a critical allegory for art historical attitudes as well as current cultural zeitgeist.

Barry Reigate’s sculptures and paintings enshrine the most basic instincts of desire and horror. Reflective of the aggression and violence of working class stereotype, Reigate adopts a brash, ‘no-apologies’ attitude towards the levelling of cultural hierarchy. Using loaded signifiers, such as Mickey Mouse minstrels and the hedonistic decadence of 80s Memphis design, his work ironically revives the ethos of ‘primitivism’ and the edgy indulgence of the neo-geo period to construct darkly humorous parodies of today’s attitudes towards commodity, fetish, and cultural taboo. His use of controversial subjects serves to underscore the hypocrisy that surrounds issues such as sexuality, race and class. “To want to do something about society’s political mess in art seems a bit apologetic in that it needs a validation.” Reigate divulges. “What I’m interested in is this ‘going nowhere’ against progress: an energised apathy, which expends itself through art production.”

Since then, there have been at least two major waves of popularity for the porn parody, each one imbued with increased sophistication. In an industry currently competing with endless stores of gratis online pornography, a well-made porn parody of a popular television series or movie has proven to be lucrative. Speaking with Adult Video Network, Jeff Mullen of X-Play explained the genre’s appeal: “We got an entirely new segment of people that were willing to buy porn that didn’t ever walk into a porn shop or order online before,” he says. “They wanted to see The Brady Bunch porn, they wanted to see Three’s Company porn.” While most porn is easily consumed on free tube websites, there is a novel appeal in owning a parody of your favourite movie or TV show, even potentially driving up sales of the original property.

Companies like X-Play focus on parodying pop culture that has cross-generational appeal. Products like Star Wars and The Brady Bunch were able to connect with as wide an audience as possible. While there have been similar porn parodies of recent political events, such as Hustler’s infamous 2008 film, Who’s Nailin’ Paylin?, they don’t command the same budget or sustainable audience as a popular television programme. The high production values of some of these films have meant that most DVDs are bundled with alternative versions with the adult sections edited out so that home viewers can enjoy the parody without the sex.

The appeal of porn parodies for a wide audience satis es two impulses: it indulges in a fantasy of having your favourite characters get it on and it also engages with pornography as a group experience. It offers viewers an opportunity to be ‘naughty’ and watch porn with their friends while having the comedy offset much of the discomfort. Comedy, horror and pornography have long occupied a similar space in the cinematic landscape where they reach for visceral reactions.

Where fear and laughter are socially sanctioned, arousal is not. Matching pornography with comedy means laughter overrides the most uncomfortable elements associated with sexual desire. Offsetting the real implications of wanting to watch pornography, it allows viewers to dip their toes in titillation without the shame of admitting they want to get off. Porn parodies have come to occupy that same cultural space as the people who used to read Playboy “for the articles.”

More so than any other sub-genre of pornography, the parody occupies the most accepted space in the mainstream. Aside from other obvious gimmicks, it might be the only kind of pornography that is regularly reviewed by the mainstream press. Websites such as the Splitsider cover porn parodies in columns like ‘This is Research’ where Sarah Schneider reviews popular titles as The Big Lebowski: A XXX Parody and This Ain’t Ghostbusters XXX. Focused as much on comedy as sex, she unveils the curious appeal of the genre. In her first entry, on the 30 Rock parody, she asks “Why do these films exist? Who watches them?” Over the course of about a dozen columns, it becomes evident that the veil of parody allows Schneider to also talk about the representation of sex in a real and almost banal way. At di erent moments she discusses camera angles, body parts and dirty talk (objecting especially to this line from Seinfeld XXX, “I wanna drink you. I wanna have you in my tummy.”)

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