Exotic Cancer is a 24-year-old stripper who has been dancing for four years down under in Melbourne, Australia. Since just before the start of 2018, her Instagram account has amassed a respectable fifty thousand-plus followers—many of whom are strippers that delight in her Easter Egg-colored snapshots of the minutiae of work.
Candida Royalle was born in 1950 to a New York City that, to her, appeared buttoned-up and fucked-up about sex. She left that city, and the world, for good just a few days ago after several years of wrangling with ovarian cancer.
Following in her musician father’s footsteps, Royalle pursued an arts education, funded first by art modeling. The art modeling, in a career path familiar to many sex workers, quickly evolved into nude modeling and eventually into performance in about 25 feature length porn films. “I got into adult movies to support my art habit,” she explained in an August 2014 interview.
After a stop-and-start filmography, punctuated by periods of uncertainty and guilt, she left performing altogether in the hope of making a better pornography for us all by founding her own company, Femme Productions. Her first few years of film-making were particularly interesting, featuring older models; a wide range of body types; severe, “unsexy” shooting techniques; and weird, dystopian plots. Her film Revelations (1993) features a married couple living in a fascist, sex-hating future. The wife finds an old stash of dirty home movies which sexually transform her and ultimately result in her arrest. Royalle spoke frequently about wanting to create pornography that focused on feminine pleasure, and which made space for erotic storytelling that was not clichéd and shallow. Her goal was to create films that women would watch and that partners would watch together.
Over the past few decades, her production company became more successful and branched out into a wide array of sex toys, books, and even a biographical documentary which was in production before Royalle passed away. She was a heartening role model for women who could no longer directly sell their own sexual labor (by choice or necessity), but for whom leaving the industry altogether was not an option.
This year’s London Frieze art festival included an exhibit called Sex Work, a retrospective on the first wave of feminist art. “Your Art (Probably) Sux!” cried sex workers, upon realizing that the only one of us formally involved was an anonymous porn actress’ cropped pussy lips in a photo.
But to be fair, we hadn’t even seen much of the show. So how have we gotten to this cynical place, where giving an artist the benefit of the doubt seems like a losing bet? Because when it comes to conversations about sociosexual mores, the deck is stacked against us and the house always wins. Sex workers have long been used as muses, metaphors, and props, sensually strewn throughout the art world’s most famous boudoirs but rarely recognized as cultural producers in their own right. When it comes to the era of radical feminism at the heart of Sex Work, a period of artistic fascination with (fetishization of?) prostitution, a time integral in the creation of a violent anti-prostitution feminist politic, the stakes seem life or death. Fool me once, you know?
For the record, I don’t think the art in Sex Work sux. Considering the recent death of Hugh Hefner, a misogynist whose myopic hetero vision of men, women, and sex shaped a generation, it is still somehow precious to see bodies represented through the eyes of anyone but straight cis men. Betty Tompkins’ black and white “Fuck Paintings” feel spectral, like catching a glimpse of her hazy vulvas through a steamy window. They were all too real, though, in 1973 when she had to order pornography from “the far east” to a secret mailbox in Canada, and then smuggle it across the American border. Marilyn Minter’s color-saturated orifices aren’t nearly as shocking as the idea that only a few years before I was born she was told by a gallery that women artists don’t sell and to come back in ten years—or never.
The historical context of these works can’t be overlooked. They herald from a time that is eerily recent, when an exhibit featuring only women artists like this one would be so transgressive a curator might lose a career over it, and where the best an artist could hope for in terms of positive reviews was a patronizing remark about a work’s alterity—its “feminine qualities. “I like this art and yet I still struggle to release the distrust lingering from a many-decades-long betrayal committed by the epoch in question. Because after all, there is a historical context for sex worker outrage, too.
[NSFW image after the cut]
Akynos is a multi-platform sex worker artist. Her many talents include photography, burlesque, and performance. She’ll be appearing this week in the San Francisco Bay Area Sex Worker Film and Art Festival from May 15th-24th, where she’ll perform in the Sex Worker Soliloquies series and teach classes in the Institute of Sexworkology, an all day workshop. More photos of Akynos in action after the jump.
Ceyenne Doroshow originally made a name for herself on stage as one of the seasoned performance artists and audience favorites of the Red Umbrella Diaries’ storytelling nights. She is featured as one of seven sex workers who tell their story on the newly released documentary The Red Umbrella Diaries, which will have its world premiere in Portland, Oregon today. In her compelling memoir cookbook, Cooking in Heels, written with Red Umbrella Project’s Audacia Ray, she tells her story: a black transgender woman’s triumph over adversity with the help of her passion for cooking. Doroshow stays busy as a published author, a public speaker, a documentary star, and a stage darling while never forgetting her roots. She remains committed to doing activist work, whether that means incorporating her lived experiences into her performances, lending her voice to trans rights conferences across the country, fostering LGBT youth, or working at The River Fund helping impoverished families. Lily Fury transcribed this from a series of conversations with Doroshow.
What have been some of the more memorable reactions to your book?
Being nominated for the MOTHA (Museum of Transgender History and Arts) awards and voted for by women like Janet Mock…I remember the same day Audacia Ray e-mailed me a review of my book that literally brought me to tears. It wasn’t a long drawn out review, but it got straight to the point, emphasizing [that] “This book changed my life.” And that was the take home that you want to take back into society whenever you do projects, whenever you bare your soul.
It’s not just a cookbook, it’s a memoir cookbook that shares something people rarely share. There’s no school to go to when dealing with the transgender child, and there were actually parents that got in contact with me to thank me or because they had made mistakes, and it was incredibly gratifying for me that these parents recognized their mistakes through my memoir…I set out to hopefully help one person and I found out I’m helping a whole lot more, and it’s really empowering.
Can you speak about your experience being outed publicly as a sex worker and serving time?
I was railroaded. This was something that usually someone would just get a desk appearance, probably a fine, and get out, but Governor Christie wanted to make me an example…I had to serve 30 days in jail, I didn’t get a warning, I didn’t get what like most people would get—if you’re of a certain level of stature in life, you’re allowed to fix your stuff.
They put me in protective custody with [another] trans identifying person, which was safer to an extent. But being in protective custody, which is really cruel in itself, is 23 hours being locked in a cell and having to defecate in front of someone, having to bear your most private pain, your tears, with a stranger you don’t know. But at the same time, it was gratifying that there was somebody there with me in that cell. Had there not been anybody, I would have come out far more damaged.
But they had these vents in the jail and I could talk to other inmates and some of them recognized me from Jersey City and some of them recognized me from the newspaper. To…add insult [to injury]…my newspaper article was floating around the cells because the CO’s had actually shown them to the inmates and the other guards. Which had made me horrified, but at the same time I had nothing to be ashamed of. It was more the process of…them wanting to publicly shame you to the point where you may not want to live or you may become suicidal. There’s no therapy for that. In my opinion, there’s no therapy for coming home because when you come home your security is broken because the whole process of trusting the system…is revealed to be a lie.