A mini zine made in response to the Queer British Art exhibition held at Tate Britain. In an effort to make queer British art more relatable, the artists appropriate images from the exhibition and imagine they are images from contemporary social media such as Grindr, Pornhub, and Instagram.
In 1861, the death penalty was abolished for sodomy in Britain; just over a century later, in 1967, homosexuality was finally decriminalised. Between these legal landmarks lies a century of seismic shifts in gender and sexuality for men and women. These found expression across the arts as British artists, collectors and consumers explored transgressive identities, experiences and desires. Some of these works were intensely personal, celebrating lovers or expressing private desires. Others addressed a wider public, helping to forge a sense of community at a time when the modern categories of gay, lesbian, bisexual and transgender were largely unrecognised. Ranging from the playful to the political, the explicit to the domestic, these works showcase the rich diversity of queer British art. This publication, the first to focus exclusively on British queer art, will feature sections on ambivalent sexualities and gender experimentation amongst the Pre-Raphaelites; the new science of sexology's impact on portraiture; queer domesticities in Bloomsbury and beyond; eroticism in the artist's studio and relationships between artists and models; gender play and sexuality in British surrealism; and love and lust in sixties Soho. 00Exhibition: Tate Britain, London, United Kingdom (05.04.2017-01.10.2017).
Art, Culture, and Pedagogy: Revisiting the Work of Graeme Chalmers is an anthology of scholarship and a conversation of international scholars who look back and look forward to the enduring potentialities and possibilities inspired by Graeme Chalmers, and his legacy of critical multiculturalism in art education.
Queer expectations is a study of contemporary solo performance in the UK and Western Europe that explores the contentious relationship between identity, individuality and neoliberalism. With diverse case studies featuring the work of La Ribot, David Hoyle, Oreet Ashery, Bridget Christie, Tanja Ostojic, Adrian Howells and Nassim Soleimanpour, the book examines the role of singular or 'exceptional' subjects in constructing and challenging assumed notions of communal sociability and togetherness, while drawing fresh insight from the fields of sociology, gender studies and political philosophy to reconsider theatre's attachment to singular lives and experiences. Framed by a detailed exploration of arts festivals as encapsulating the material, entrepreneurial circumstances of contemporary performance-making, this is the first major critical study of solo work since the millennium.
Lawrence Alloway (1926-1990) was one of the most influential and widely respected (as well as prolific) art writers of the post-war years. His many books, catalogue essays and reviews manifest the changing paradigms of art away from the formal values of modernism towards the inclusiveness of the visual culture model in the 1950s, through the diversity and excesses of the 1960s, to the politicisation in the wake of 1968 and the Vietnam war, on to postmodern concerns in the 1970s. Alloway was in the right places at the right times. From his central involvement with the Independent Group and the ICA in London in the 1950s, he moved to New York, the new world centre of art, at the beginning of the 1960s. In the early 1970s he became deeply involved with the realist revival and the early feminist movement in art -- Sylvia Sleigh, the painter, was his wife -- and went on to write extensively about the gallery and art market as a system, examining the critic's role within this system. Positioning himself against the formalism and exclusivism associated with Clement Greenberg, Alloway was wholeheartedly committed to pluralism and diversity in both art and society. For him, art and criticism were always to be understood within a wider set of cultural, social and political concerns, with the emphasis on democracy, social inclusiveness, and freedom of expression. Art and Pluralism provides a close critical reading of Alloway's writings, and sets his work and thought within the cultural contexts of the London and New York art worlds from the 1950s through to the early 1980s. It is a fascinating study of one of the most significant art critics of the twentieth century.
Examining colonial art through the lens of transculturation, the essays in this collection assess painting, sculpture, photography, illustration and architecture from 1770 to 1930 to map these art works' complex and unresolved meanings illuminated by the concept of transculturation. Authors explore works in which transculturation itself was being defined, formed, negotiated, and represented in the British Empire and in countries subject to British influence (the Congo Free State, Japan, Turkey) through cross-cultural encounters of two kinds: works created in the colonies subject over time to colonial and to postcolonial spectators' receptions, and copies or multiples of works that traveled across space located in several colonies or between a colony and the metropole, thus subject to multiple cultural interpretations.
Assembled by the editors of glbtq.com, the online encyclopedia of gay, lesbian, bisexual, and transgender art, music and popular culture, this print version of the popular reference to gay life and culture includes more than two hundred entries. Original.
This book examines queer performance in Britain since the early 1990s, arguing for the significance of emerging collaborative modes of practice. Using queer theory and the history of early lesbian and gay theatre to examine claims to representation among other things, it interrogates the relationships through which recent works have been presented.