The archive has assumed a new significance in the history of sex, and this book visits a series of such archives, including the Kinsey Institute’s erotic art; gay masturbatory journals in the New York Public Library; the private archive of an amateur pornographer; and one man’s lifetime photographic dossier on Baltimore hustlers. The subject topics covered are wide-ranging: the art history of homoeroticism; casual sex before hooking-up; transgender; New York queer sex; masturbation; pornography; sex in the city. The duality indicated by the book’s title reflects its themes. It is an experiment in writing an American sexual history that refuses the confines of identity sexuality studies, spanning the spectrum of queer, trans, and the allegedly ‘normal’. What unites this project is a fascination with sex at the margins, refusing the classificatory frameworks of heterosexuality and homosexuality, and demonstrating gender and sexual indecision and flexibility. And the book is also an exploration of the role of the archive in such histories. The sex discussed is located both in the margins of the archives, what has been termed the counterarchive, but also, importantly, in the pockets of recorded desire located in the most traditional and respectable repositories. The sexual histories in this book are those where pornography and sexual research are indistinguishable; where personal obsession becomes tomorrow’s archive. The market is potentially extensive: those interested in American studies, sexuality studies, contemporary history, the history of sex, psychology, anthropology, sociology, gender studies, queer studies, trans studies, pornography studies, visual studies, museum studies, and media studies.
, ‘Introduction’, in R. Comay (ed.), Lost in the Archives (Toronto,
2002), pp. 12–15, quote at p. 12.
40 S. Spieker, The Big Archive: Art from Bureaucracy (Cambridge, MA, 2008).
41 S. Osthoff, Performing the Archive: The Transformation of the Archive in
Contemporary Art from Repository of Documents to Art Medium (New York,
2009), pp. 23–4, 139–50.
42 H. Foster, ‘An archival impulse’, October, 110 (2004), 3–22. For other
examples, see B. von Bismarck et al., Interarchive: Archivarische Praktiken
und Handlungsräume im zeitgenössischen Kunstfeld / Archival Practices and