Books like Sex, art, and American culture by Camille Paglia

Robert Greene’s The Art of Seduction examines the subtle psychology of attraction, outlining classic techniques and timeless profiles of seductive figures.

The cake in kitchen, the house in the suburbs, Mamie in her mink stole, Elvis in his pink Cadillac. It was America in the 1950s, and the world was not so much a stage as a setpiece for TV, the new national phenomenon. It was a time when how things looked - and how we looked - mattered, a decade of design that comes to vibrant life in As Seen on TV. This book captures a visual culture reflecting and reflected in the powerful new medium of television. Looking closely at a number of celebrated instances in which the principles of design dominated the public arena and captivated the popular imagination, Karal Ann Marling gives us a vivid picture of the taste and sensibility of the postwar era. From Walt Disney's Wednesday night TV show, the leap was easy to his theme park, where the wildly popular TV characters could be seen firsthand, and Marling conducts us through this heady concoction of real life and fantasy. Next she takes us into the picture-perfect world of Betty Crocker's Picture Cook Book of 1950, the runaway bestseller of the decade, and shows us how the look of food, culminating in the TV Dinner, attained paramount importance. From the painting-by-numbers fad to the public fascination with the First Lady's apparel to the television sensation of Elvis Presley to the sculptural refinement of the automobile, Marling explores what Americans saw and what they looked for with a gaze newly trained by TV. A study in style, in material culture, in art history at eye level, her book shows us as never before those artful everyday objects that stood for American life in the 1950s, as seen on TV.

A detailed examination of how American housing patterns, especially the rise of suburbia, have shaped social behavior, economic mobility, and racial segregation across the 20th century.

"Without the Cold War, what's the point of being an American?" As if in answer to this poignant question from John Updike's Rabbit at Rest, Stephen Whitfield examines the impact of the Cold War - and its dramatic ending - on American culture in an updated version of his highly acclaimed study. In a new epilogue to this second edition, he extends his analysis from the McCarthyism of the 1950s, including its effects on the American and European intelligensia, to the civil rights movement of the 1960s and beyond. Whitfield treats his subject matter with the eye of a historian, reminding the reader that the Cold War is now a thing of the past. His treatment underscores the importance of the Cold War to our national identity and forces the reader to ask, Where do we go from here? The question is especially crucial for the Cold War historian, Whitfield argues. His new epilogue is partly a guide for new historians to tackle the complexities of Cold War studies.

For over two centuries, in the North as well as the South, both within their own community and in the public arena, African Americans have presented their bodies in culturally distinctive ways. Shane White and Graham White consider the deeper significance of the ways in which African Americans have dressed, walked, danced, arranged their hair, and communicated in silent gestures. They ask what elaborate hair styles, bright colors, bandanas, long watch chains, and zoot suits, for example, have really meant, and discuss style itself as an expression of deep-seated cultural imperatives. Their wide-ranging exploration of black style from its African origins to the 1940s reveals a culture that differed from that of the dominant racial group in ways that were often subtle and elusive. A wealth of black-and-white illustrations show the range of African American experience in America, emanating from all parts of the country, from cities and farms, from slave plantations, and Chicago beauty contests. White and White argue that the politics of black style is, in fact, the politics of metaphor, always ambiguous because it is always indirect. To tease out these ambiguities, they examine extensive sources, including advertisements for runaway slaves, interviews recorded with surviving ex-slaves in the 1930s, autobiographies, travelers' accounts, photographs, paintings, prints, newspapers, and images drawn from popular culture, such as the stereotypes of Jim Crow and Zip Coon.

Depicts the evolution of an increasingly style-conscious society from the time when style was an exclusive prerogative of aristocratic elites to today when it fascinates millions.