Annie Sprinkle

Jennie Klein

Beth Stephens

Linda Montano

The story of the artistic collaboration between the originators of the ecosex movement, their diverse communities, and the Earth What's sexy about saving the planet? Funny you should ask. Because that is precisely--or, perhaps, broadly--what Annie Sprinkle and Beth Stephens have spent many years bringing to light in their live art, exhibitions, and films. In 2008, Sprinkle and Stephens married the Earth, which set them on the path to explore the realms of ecosexuality as they became lovers with the Earth and made their mutual pleasure an embodied expression of passion for the environment. Ever since, they have been not just pushing but obliterating the boundaries circumscribing biology and ecology, creating ecosexual art in their performance of an environmentalism that is feminist, queer, sensual, sexual, posthuman, materialist, exuberant, and steeped in humor. Assuming the Ecosexual Position tells of childhood moments that pointed to a future of ecosexuality--for Annie, in her family swimming pool in Los Angeles; for Beth, savoring forbidden tomatoes from the vine on her grandparents' Appalachian farm. The book describes how the two came together as lovers and collaborators, how they took a stand against homophobia and xenophobia, and how this union led to the miraculous conception of the Love Art Laboratory, which involved influential performance artists Linda M. Montano, Guillermo Gómez-Peña, and feminist pornographer Madison Young. Stephens and Sprinkle share the process of making interactive performance art, including the Chemo Fashion Show, Cuddle, Sidewalk Sex Clinics, and Ecosex Walking Tours. Over the years, they celebrated many more weddings to various nature entities, from the Appalachian Mountains to the Adriatic Sea. To create these weddings, they collaborated with hundreds of people and invited thousands of guests as they vowed to love, honor, and cherish the many elements of the Earth. As entertaining as it is deeply serious, and arriving at a perilous time of sharp differences and constricting categories, the story of this artistic collaboration between Sprinkle, Stephens, their diverse communities, and the Earth opens gender and sexuality, art and environmentalism, to the infinite possibilities and promise of love.

The Earth As Lover

Assuming the Ecosexual Position

This book focuses on the performance art of Marilyn Arsem, an internationally acclaimed performance artist known for her innovative and experimental work. Arsem's work addresses women's history and myth-making capacities, the potency of site and geography, the idea of the audience as witnesses, and the intimacy of one-to-one works. One of the most prolific performance artists working in the United States today, Arsem performs carefully choreographed durational actions that are developed site-responsively and range from deceptively simple interventions to elaborately orchestrated actions. This edited volume seeks to extend Arsem's legacy beyond the audiences of her live performances and enter her work into the lexicon of the art world. Accompanied by two hundred images, Responding to Site will be of interest to scholars and students of performance studies, feminist performance, feminist art history, and performance history. It will also contribute to the history of alternative spaces and galleries that is only now being written.

The Performance Work of Marilyn Arsem

Responding to Site

The story of the artistic collaboration between the originators of the ecosex movement, their diverse communities, and the Earth What’s sexy about saving the planet? Funny you should ask. Because that is precisely—or, perhaps, broadly—what Annie Sprinkle and Beth Stephens have spent many years bringing to light in their live art, exhibitions, and films. In 2008, Sprinkle and Stephens married the Earth, which set them on the path to explore the realms of ecosexuality as they became lovers with the Earth and made their mutual pleasure an embodied expression of passion for the environment. Ever since, they have been not just pushing but obliterating the boundaries circumscribing biology and ecology, creating ecosexual art in their performance of an environmentalism that is feminist, queer, sensual, sexual, posthuman, materialist, exuberant, and steeped in humor. Assuming the Ecosexual Position tells of childhood moments that pointed to a future of ecosexuality—for Annie, in her family swimming pool in Los Angeles; for Beth, savoring forbidden tomatoes from the vine on her grandparents’ Appalachian farm. The book describes how the two came together as lovers and collaborators, how they took a stand against homophobia and xenophobia, and how this union led to the miraculous conception of the Love Art Laboratory, which involved influential performance artists Linda M. Montano, Guillermo Gómez-Peña, and feminist pornographer Madison Young. Stephens and Sprinkle share the process of making interactive performance art, including the Chemo Fashion Show, Cuddle, Sidewalk Sex Clinics, and Ecosex Walking Tours. Over the years, they celebrated many more weddings to various nature entities, from the Appalachian Mountains to the Adriatic Sea. To create these weddings, they collaborated with hundreds of people and invited thousands of guests as they vowed to love, honor, and cherish the many elements of the Earth. As entertaining as it is deeply serious, and arriving at a perilous time of sharp differences and constricting categories, the story of this artistic collaboration between Sprinkle, Stephens, their diverse communities, and the Earth opens gender and sexuality, art and environmentalism, to the infinite possibilities and promise of love.

The Earth as Lover

Deirdre Heddon

In this dynamic collection a team of experts map the development of Live Art culturally, thematically and historically. Supported with examples from around the world, the text engages with a number of key practices, asking what these practices do and how they can be contextualised and understood.

Jennie Klein

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