Deep Inside Annie Sprinkle 198213
Deep Inside Annie Sprinkle 198213
in addition to her performance work, annie has also written many books, including milk and honey, suck on this, essential oil scents, and performing sex. she has been the subject of many exhibitions and writings, and been the subject of a whole scholarly career. she was one of the first women to be interviewed on the national public radio show on the media. she was the subject of a college course on theater, sexuality and sexual politics. she has lectured on masturbation, pornography, sex roles, the sexual revolution, as well as being an american icon on sexuality and an internationally acclaimed performance artist. her books are classics in the field. she has a website, , which is not only a source for her art, but also an extensive source of her life history, interviews, and lectures. this site is also a source of inspiration for her work and a place where she is continually adding more to it. the website is a testament to her years of sex work and activism, and the commitment she has to its radical transformation into post-porn. since the early days when she worked in pornography, annie has always been open about the impact of her work on the industry, and has strived to change it in favor of women.
her first solo work was body politic, a performance created for the the second coming series at the franklin furnace in new york in january 1984. it received great acclaim and even the attention of beverly cox, an art historian, who wrote a text about it in the new york times. body politic was created to showcase the personalities of the club 90 women in their street clothes, as they led, dressed, and undressed a stuffed doll. annie was the most recognized member of club 90, and her appearance at the franklin furnace with her doll created a legendary and iconic image. the performance was intended to challenge the stereotypes of women as passive objects in sexual situations, and instead brought attention to women as active participants. the second coming also introduced the concept of a porn star as a working artist, an identity which sprinkle embraced. her performance piece, carnival knowledge, in may 1984, explored the concept of working in the sex industry as a woman as the metaphor of the “whore of babylon,” and introduced her work to a broader audience.
a few months before the prometheus project debuted, sprinkle performed as a guest on an episode of the television show, nightline. there, she discussed the film, placing it in a historical context where women were starting to rise in the film industry, and she challenged the makers of the film to take a more holistic approach to the future of science fiction, not only focusing on the hard science that fascinated them, but also exploring the effects of technology on the human body and society as a whole. while the film industry was fighting to maintain its dominance, sprinkle was already challenging the foundations of their belief system and challenging the widely held notion that women were still second-class citizens in society.
when schechner invited annie to be part of his production, he knew it would be controversial, and that, given the then recent success of the film, the audience would be polarized. in the past, art had been seen as a safe place where people of all political persuasions could go to escape the threats and dangers of the outside world. art had been used to reinforce those threats and dangers, but the early eighties was a time where it was becoming clear that art had the potential to be a force for social change. the prometheus project would either confirm or subvert this notion.
the controversy surrounding the film was expected, and it was the sort of controversy that artists live for. for a brief moment, the sex industry and its supposedly regressive and exploitative relationship to women was put on public display. the production had been described as “the worst possible film”, and it became the subject of intense media coverage. the controversy surrounding the film was so intense that a special screening was held at the museum of modern art. as the responses to the film became more and more polarized, the reactions became so heated that a friend of sprinkle’s wrote a letter to the editor of the new york times, arguing against the film. the only thing that prevented the letter from being published was the fact that the times was actually sponsoring the film.
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