12 Inches of Sin
Liquor, Acrylic on Board, Paul Butvila (Canada)
Mr. Happy, Oil on Panel, Sean Ghobad (USA)
Hillary, Pencil on Matches, Mike Bell (USA)
Magic Mirror On The Wall Who Is The Fairest One of All, Mixed Media Collage with Ink Additions, Nicola Filippo (USA)
An Unexpected Visitor, Collage Photopolymer, Thor Sivertsen (Norway)
Masturbation En Oro, Collage, Noémie Faligant (Mexico)
Candid, Arylic Crystal Resin Embroidery on Found Dolly, Nathan Emanuel (USA)
Sharing, Oil on Board, Eric Wallis (USA)
Little Hasan, Assemblage, Steve Bormes (USA)
Sex Clock, Mixed Media Lightbox with Moaning Sound, Seth Maturin (USA)
Rubber Lover, Spray Paint & Acrylic on Canvas, Michelle Mildenhall (UK)
Big Mouth, Latex Paint and Pillow Stuffing, Chris Bauder (USA)
Serve You, Photography, Dennis Keim (USA)
Better Than Two in the Bush, Photography, Same Source (USA)
Thank God, Digital Photography, Analysis Cunningham (USA)
Dancer in the Corner, Digital Photography, Marc Schmidt (USA)
Same Model-Double Exposed, Multi-Exposure Instant Film, Curtis Walker (USA)
For Maniacs Only, Digital, Gloria Bollard (Italy)
Santo Nino, Photography, Kelvin Burzon (USA)
My Body Is My Own, Digital Photography, Brian Janes (USA)
Overstretch, Photography. think tank ART (Germany)
Neon Bodyguard, UV Photography, Robert Babylon (UK)
Untitled II, Photography, River Thompson (USA)
Day Dreaming, Photography, John Steki (USA)
Le Salon Des Refusés Du Péché
Pleasure Zone, Gold Ink Matt Card Framing, Helm Rulfrok (New Zealand)
Night Walker, Photography, Steve Gatlin (USA)
Grasping, Charcoal on Paper, Nadia Vanilla (USA)
Infrared Rosie, Photography, Dave Hanson (USA)
Important Parts, Acrylic Latex Permanent Marker on Canvas, Janelle Whisenant (USA)
Beavers Love Peckers, Pencil on Paper, Stewart Freshwater (USA)
Lexi, Ink on Paper, CRD Larson (USA)
For The Win, Videography, Sue Kay Lee in collaboration with Lindsay Rose Russell and Mike Silvers (USA)
Sultry Poultry, Porcelain and Glaze, Lorren Lowrey (USA)
Untitled, Acrylic Paint on Canvas, Thomas Eliasson (Sweden)
What Lies Beneath, Mixed Media Collage on Canvas, Wayne Monaghan (UK)
Eat Pray Love, Mixed Media, Nancy Good (USA)
“To have and to hold; to touch and to feel. Such was Steve Diet Goedde’s objective in creating a series of Polaroid emulsion transfers for his “Variations” show, up through July 24.
“Hopefully, people will want to buy them, because it’s a thing that you can possess,” Goedde said in a phone interview last night.
Models for the images, wearing stilettos, fetish accessories and lingerie, were shot in Goedde’s signature style. The process of making the prints, however, was vastly different from his usual one: Instead of using standard film, scanning each frame and making digital prints like he did for the last 10 years, he used a Polaroid camera, removed the fragile emulsions from the photos, rinsed off the chemicals and transferred each of them to Arches watercolor paper, creating one-of-a-kind works of art.
“I don’t like photography that looks too lifelike,” he said. “It’s got to have some kind of an organic feel to it. I like my work to look painterly, and this is the perfect means of creating that feel.”” > Read More, Stank Magazine
“Henkel, and Sin City, always seem to make a big impact. The 12 Inches show, now in its sixth year, draws hundreds of submissions. Last year she crowd-funded four books of art compiled from past 12 Inches shows; the fifth book comes out this year. Now, the gallerist is taking a shrewdly calculated big chance with Immersive, a daylong “art happening” that spills out of Sin City Gallery into the Arts Factory’s west parking lot on April 9. Hundreds of pieces of sexy and provocative art, from photographs to mixed media pieces, will be on display, complemented by a series of live performers.” Seven Magazine > Read More
Sin City Gallery presents 12 Inches of Sin IMMERSIVE art experience on April 9th. Music, performance art and the most spectacular visual art from around the world will be on exhibition and sale. 300 art works from around the world will be available for discerning collectors.
There will be three live auctions throughout the day:
1:00 to 4:00pm, 4:00pm to 7:00pm, and 7:00pm to 11:00pm
IMMERSIVE is designed so people may come and go from the event, experience the neighborhood and acquire outstanding works of art. There is art from Malaysia, Turkey, Iran, Israel, France, Slovenia, Netherlands, United Kingdom, Germany, Uruguay, Mexico, Japan, South Korea and the United States.
We are pleased to present original works of art by Sorayama and Moz for discerning collectors.
“If there’s still a taboo around erotic art in Las Vegas, rest assured: Dr. Laura Henkel is breaking it. The curator and specialist in human sexuality helms the Sin City Gallery, which is preparing for an upcoming show of Hajime Sorayama paintings. She also runs 12 Inches of Sin, an annual juried erotic art exhibition. Now, for the competition’s fifth year, an immersive art experience will accompany the annual competition.
For the April 9 event, Dr. Henkel is taking over the entire Arts Factory complex, the converted warehouse where Sin City Gallery is located, amongst other fine art studios and commercial galleries. She hopes to encourage Las Vegas’ downtown arts scene, and from 1 PM to midnight, the complex will be filled with visual and performance art, lectures, and live entertainment.” > Read More @ The Creators Project
The annual juried exhibition 12 Inches of Sin has become a five-star smorgasbord of provocative art. Brought to us by Sin City Gallery, the much-anticipated show has emerged as an iconic must-see exhibit, complete with an accompanying annual and highly collectable art book. In this innovative setting, Dr. Henkel has taken on the challenge of raising questions about what is erotic and what qualifies as art, and the complex relationship and considerable gray area between the two genres.
I have had the great honor of serving four years as a juror for the 12 Inches of Sin competition and fine art exhibition. During my time, the submissions have grown not only in quantity but also in quality and diversity.
In my own life, and as a juror, I have observed that art has a highly personal character and contains its own enigma. Great art is not always that most esteemed in the art world, and in my opinion, it seems that some of the best and most inspiring art has come from the self-taught artists who has yet to be accepted by the art world. And yet, today, in its fifth year, the 12 Inches of Sin exhibition features work that is made by those who are formally trained in the fine arts, as well as those who are self-taught. This diversity is also seen in the references to sexual preferences whether straight, gay, lesbian, transgender, objectification, anamorphic, or just the feeling that it is sexual.
Erotica is a highly charged topic fueled by cultural opinions, based in the secrets of attraction, sexual constructs, religious dogma, social opinion, personal bias, and our own triggers for titillation. Our culture has a way of creating a sense of mystery around the erotic, and this in turn shapes our behavior. For proof of this phenomenon, we can just look to the sheer number of euphemisms we have for coitus. The power of sex and the allure of the erotic are co-opted by advertising while the political system uses ideas of sex to create fear.
Dr. Henkel’s exhibit showcases artistic interpretation of our erotic behavior. It is my opinion that this kind of work helps liberate the phobic veil that contemporary culture manufactures around our sexuality. Please enjoy the show and I hope it will provide each audience member a moment in time to question their opinions about both art and eroticism and all that lies in-between.
~ Will Roger Peterson, Cultural Founder, Burning Man
Does size really matter? It is said there are two types of people in the world: size queens and liars. For 12 Inches of Sin, the Sin City Gallery’s inaugural erotic art exhibition juried by an eclectic group of academics, perverts, and academic perverts handpicked by prominent erotologist Dr. Laura Henkel, both size and content are the organizing principles. Attempting to maximize usage of the intimate gallery space, the size constraint for submissions assured there could be a greater number of accepted and exhibited works at Las Vegas’ premiere gallery of erotic art. An equal division of the foot—itself a common fetish object— 12 Inches is a sly allusion to that length to which many aspire, but few attain. Sex, like life, is a game of inches, and so is its depiction in the surprising and remarkable works in Volume I.
As two-hundred-square-foot micro-apartments proliferate in major cities, our private space is shrinking. In polite society, erotic art cannot be openly displayed in the home, office, church, temple, or mosque. It must be hidden in closets, drawers, or buried in the woods, only to be appreciated up close and very personal. These diminutive works may arouse or disturb, and may attract or repulse; it all depends on you. This brings us to the sticky concept of sin, etymologically derived from guilt, misdeed, and error. Though all of the seven deadly sins contribute to Vegas’ nickname, the gallery and this exhibition focus squarely on lust alone. A universal definition of erotic art, negotiating that sharp edge in the shadowy realm differentiating it from pornography, has proved elusive. United States Supreme Court Associate Justice Potter Stewart said that hardcore pornography was hard to define, but “I know it when I see it.” Though he later recanted this position as untenable, he was definitely on the right track. Applying Occam’s razor to this thorny problem, I submit this simple test: if you can masturbate to it, it is porn. Sexual content that does not incite masturbation is erotic. While this test is admittedly highly subjective, it is truly the only one that makes any sense. There is no accounting for taste, or even a taste for accounting. We live in an age where we are defined culturally and individually by Internet porn searches; the data cloud is analyzed in real time, yielding a dynamic map of the global sexual psyche. If we have learned anything, it is that anything can be fetishized.
With the Made in Heaven series, Jeff Koons and Cicciolina smashed the barrier between pornography and fine art. Kim Kardashian’s ubiquitous ass is mainstream entertainment. It is anybody’s game. The images in this exhibition seep into the moist dark cracks of our minds, turning us on, and tuning us in to what each of us brings to the party. Try as you might, you cannot help what you like.
~ By Henry S. Rosenthal, Artist & Art Patron, San Francisco
“The realism that Sorayama portrays in his work is not only plausible, it is attainable.” ~ Henkel, The Creators Project