His interest in their bodies was more appraising than erotic. (Though Ben did know that he liked girls, he did not feel like a lesbian at all.) To combat the gossip, he started dressing girlier and tried having sex with boys a few times. (Then again, lots of teenage girls dislike their bodies.) Next came the lesbian rumors at school. When he realized he would not, he forgot the whole idea and started collecting other evidence to explain why something in his life always felt off.įirst, there was the way he wore baggy clothes in the summer. As a young girl, he assumed he would become a man when he grew up. Raised in a village outside the Finger Lakes - a place, to this day, where cell service is spotty - he did not know what “transgender” was.
Though he did, in the end, grow up to be a man, he freely admits that in another place or time he might have grown into an unhappy woman, or the local eccentric, or a person who died too young from suicide. Nothing about Benjamin Simpson’s transition was inevitable, certainly not his penis. Petroissants, J.To hear more audio stories from publications like The New York Times, download Audm for iPhone or Android. In this way, Emmerich succeeds in making the act of looking truly provocative.Īlejandro Jiménez-Flores and Miguel JiménezĪlternative Education, Feminisms, & Radical PoliticsĬCA Wattis Institute for Contemporary ArtsĬolumbia Books on Architecture and the CityĬritical Anthropology & Post-Colonial StudiesĮmily Harvey Foundation, A. She depicts the paradox of simultaneous attraction and repulsion, intimacy and cool detachment, seduction, and critique.
Referring to the visual language of advertising and Pop art, she creates images that both aestheticize and problematize the female body. Since 2016, Emmerich has worked with a new painting technique, using stencils cut from vinyl flooring, which she covers with oil paint and then impresses onto canvas, paper, or a wall.
The sensuality of her painting resides not only on the surface of the (erotic) image but also in her refined use of colour and technical execution. Body and identity, the sensory and the sensual, the commodification of the erotic and the exotic: these are frequently recurring themes in Emmerich’s work. Under the titles, The Great Ephemeral Skin, Hadassah Emmerich (Heerlen, 1974) presents a new series of works whose central focus is the female body as object.
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