This interview was conducted with one of the closest friends of the visual artist Ray Johnson, the late photographer and writer William S. Wilson. Johnson was a fixture of the New York downtown art scene in the late 1940, 1950s, and 1960s. He was influenced by Abstract Expressionists and Pop artists alike, but was a true original, widely considered to be the founder of “mail art” and also an important collagist and performance artist. Wilson helped Johnson to formulate the idea (...) of “mail art” as they exchanged correspondence, thoughts, ideas, experiences, and much else besides. In this interview, Wilson discusses Johnson's sexuality, sadomasochistic practice, and philosophy of friendship. He provides hitherto unknown details about Johnson's intimate relations with the artist Richard Lippold and life at Black Mountain College. Wilson also recounts details of Johnson's relation to women in terms of art, friendship, love, and sex. But more than anything, this interview captures the atmosphere of queer life in the middle decades of the twentieth century and Johnson's particular experiences of that era. (shrink)

This essay explores the work of “New York’s most famous unknown artist,” Ray Johnson, contending that his complex relationship to sadomasochism provides a key switch point for Pop’s sexual and racial imaginary. In the register of sex, Johnson’s sadomasochism contests the stability of the relationship between homosexuality and Pop, offering instead a queerer object that opens out new models of collaborative artistic production. In the register of race, sadomasochism enables Johnson to articulate a monochrome world, attempting to void the binarized (...) color-line’s fissuring force. While this strategy from our contemporary vantage feels politically suspect, I see it is part of a larger project of political and social reparation whereby the explicitly sadomasochistic themes of Johnson’s work imagine a rebuttal to and reconfiguration of the racist exclusionary forces of the art world. (shrink)

In spite of the fact that the term ‘sexology’ was popularized in the United States by Elizabeth Osgood Goodrich Willard and that the term ‘sexual science’—which is usually attributed to Iwan Bloch as ‘Sexualwissenschaft’—was actually coined by the American phrenologist Orson Squire Fowler in 1852, the archives of American sexology have received scant attention in the period prior to Alfred Kinsey. In my article, I explore the role of Transcendentalism and phrenology in the production and development of American sexology and (...) sexual science. In particular, I argue that shifting the origins of sexology and sexual science away from Karl Heinrich Ulrichs and Karl-Maria Kertbeny and the more familiar narratives of the German invention of sexuality furnishes a radically different account of early sexology and sexual science. Rather than the unevenly homophilic sympathies of early German activists, their American counterparts promote marital, reproductive, loving sex and vilify prostitution, polygamy, masturbation, contraception, sex for pleasure, and, if they think to mention it, sodomy. In addition to this less progressive story, however, I argue that early American sexologists provide the first theories of gender and help to provide a fuller description of the politics of sexology and sexual science. (shrink)