Queer (Whitechapel: Documents of Contemporary Art. A global survey of queer art would include art from Greece, Rome, China Peru, India, Mexico, as well as the medieval, Renaissance, and early modern periods. In recent decades, art historians have contextualized images of homosexuality and homoeroticism that appear throughout the history of art and visual culture, revising and expanding our understanding of representations of same sex desire, romance, and companionship. (other possiblethemes not engaged here: camp/performance/embodiment).In summary, here are the themes that will be addressed in this lecture: Many of them are in dialogue with art history. This lecture is an overview of different strategies used by queer artists. While queer and trans are often related and overlapping identities, they are distinct and not interchangeable. Queer is a reclaimed pejorative for people who desire someone of the same sex, is pansexual, bisexual, or any other sexuality that is not lesbian or gay, while transgender refers to a person whose self-identity does not conform unambiguously to conventional notions of male or female gender. For others, queer identity has little to do with their art. Many queer artists embrace marginality as a position from which to create self-empowered narratives that resist dominant understandings of gender, race, class, and sexuality. “Queer” became the preferred label for many people on the LGBT spectrum because of its lack of a fixed meaning and the spirit of social deviance it connotes. In the 1980s, militant gay activists reclaimed the term “queer” to confront the homophobia unleashed by the HIV/AIDS crisis that emerged in that decade, which disproportionally affected gay men. The desire to document and celebrate depictions of queer identity, life, and history is an example of the politicization of sexuality that emerged during this period.

This ethos was manifested in art as well as art history: artists became emboldened to make art about their sexual identity, and LGBTQ art historians began to recuperate the work of LGBTQ art that went unnoticed, had been censored, or written out of history books. Unlike previous forms of gay activism, gay liberation promoted visibility by encouraging people to “come out” as LGBTQ, rather than remain closeted and/or assimilate to dominant social norms.

The confrontation was part of a groundswell of activism tied to the protest spirit of the period, including civil rights and women’s liberation, and it led to a new social movement for lesbian and gay rights. This is an event that is largely defined as the “before/after” moment in LGBTQ history, when patrons (many of them queer and trans people of color) of a mafia-owned gay bar in New York’s West Village fought back against a routine police raid. After this period, the Stonewell Riots of 1969 marked a shift towards more visibility. Katz, have explored how mid-twentieth century artists (including Andy Warhol, Jasper Johns and Agnes Martin) developed visual codes to signify queerness in clandestine ways. Scholars, namely Richard Meyer and Jonathan D. As such, queer art over the twentieth century has been shaped by, on the one hand-the need to conceal references to queer identity and experiences and, on the other-a desire for visibility: the cultural imperative to create representations of queer identity because none exist. Until very recently it was not socially acceptable to be out as an LGBT or Q person. This lecture has two key concepts: censorship and visibility. This lesson takes a contemporary approach and can be utilized within surveys of modern/contemporary art or in seminars pertaining to “art and identity” topics. From ancient Greece to contemporary art, queer art can be taught through many art historical trajectories.

New harmony in art galleries