Public/and Private—secrets must circulate; Institut
Franc ̧ ais d’Ecosse; Edinburgh, Scotland, and traveling
O ̈sterreichische Triennale zur Fotografie 93; Neue Gal-
erie am Landesmuseum Joanneum, Forum Stadtpark;
Graz, Austria
1994 L’art du portrait franc ̧ais aux XIXe et XXe sie`cles; The
Shoto Museum of Art; Tokyo, Japan, and traveling
Don’t leave me this way: Art in the age of AIDS;
National Gallery of Canberra; Canberra, Australia
Cocido y crudo; Museo Nacional Centro de Arte
Reina Sofı ́a; Madrid, Spain
Les Me ́tamorphoses d’Orphe ́e; Muse ́e des Beaux-Arts;
Tourcoing, France, and traveling
1995 On Beauty; Regina Gallery; Moscow, Russia
Fe ́minin/Masculin—Le Sexe de l’art; Centre Georges
Pompidou; Paris, France
1996 Inauguration de la Maison Europe ́enne de la Photogra-
phie; Maison Europe ́enne de la Photographie; Paris,
France
1997 La Revanche de Ve ́ronique; Centre d’Art Contempor-
ain; Geneva, Switzerland
1999 Rosso Vivo—Mutazione, Transfigurazione, e sangue
nell’Arte Contemporanea; PAC—Padiglione d’Arte Con-
temporanea; Milan, Italy
Hommage a`Jean Marais—He ́ros Romantique; Muse ́e
de la Vie Romantique; Paris, France
The Power of Beauty; Geementemuseum; Helmond,
The NetherlandsFurther Reading
Cameron, Dan.Pierre et Gilles. London: Merrell Publish-
ers, 2000.
Fleury, Jean-Christian. ‘‘Pierre et Gilles: vingt ans d’extase.’’
(in French)Photographies Magazine81 (Dec. 1996): 56–63.
Marcade ́,Bernard,andDanCameron.Pierre et Gilles: The
Complete Works/L’œuvre complet/Sa ̈mtliche Werke (1976–
1996). Cologne: Benedikt Taschen Verlag, 1997.
Pierre et Gilles, un naturel confondant. (in French) Arles:
Actes Sud, 1994.
Troncy, Eric. ‘‘The Peril of Kitsch!’’Beaux-Arts Magazine
183 (Aug. 1999): 64–73.
Turner, Jonathan. ‘‘Pierre et Gilles: Saints and Sinners.’’
Art and Text48 (May 1994): 52–9.PIN-UP PHOTOGRAPHY
Pin-up photography may be considered a branch of
glamour photography, which itself is related to fash-
ion photography. The pinup (or pin-up) photograph
is implicitly suitable to be hung on a wall like a
poster (although failure to actually display a photo-
graph does not disqualify it as a ‘‘pinup’’). Beyond
that functional definition, the pinup photograph
connotes a particular style of glamour photograph.
The traditional pinup portrays attractive girls and
women, although certainly the pinup also encom-
passes male imagery, even if it constitutes a distinct
minority. While any photograph, print, or magazine
reproduction, regardless of subject matter, techni-
cally can become a ‘‘pinup’’ by wall display, the
term is generally reserved to identify a broad style
category of glamorous figure pictures, as well as
glamour portraits that do not include the entire fig-
ure. A glamorous portrait of a beautiful woman may
be torn from a magazine and tacked to a wall or
bulletin board, but it does not necessarily fit the
expectations associated with the term pinup unless
it includes a sexual or sensual component. In a bow
to a well-established tradition, we restrict the term to
a particular style or mode of figure representation,
and its intention to provide measured sexual titilla-
tion. The ‘‘pinup’’ encompasses painting and draw-
ing as well as photography, and the ‘‘Gibson girl’’
drawings of Charles Dana Gibson in the early 1900s
and theEsquiremagazine illustrations by Vargas in
the 1940s are closely linked to the growth of pinup
photography. Although much soft-core and hard-
core pornography has been produced for ‘‘pinup’’
purposes, the name primarily evokes the notion of
a scantily clad or nude full-figure image that adheres
more closely to the ‘‘glamour’’ aesthetic than to the
pornographic or prurient. In the majority of ‘‘pinup’’
poses, the model gazes directly at the viewer, enga-
ging him (usuallyhim) with a saucy, humorous, con-
spiratorial gaze. In the traditional ‘‘figure study,’’
made ostensibly for aesthetic satisfaction, the nude
or nearly nude model usually does not interact with
the viewer; her eyes are turned away, or the face may
even be hidden or cropped out in order to deperso-
nalize the model and emphasize the body as an
aesthetic object. If the centerfold images of maga-
zines such as Playboy and Penthouse (ostensiblyPIN-UP PHOTOGRAPHY