A Queer Little History Of Art

"Over the last century, many artists have made works that challenge dominant models of gender and sexuality. The results can be sexy or serious, satirical or tender, discreetly coded or defiantly outspoken. This book illustrates the wide variety of queer art from around the world -- exploring bodies and identity, love and desire, prejudice and protest through drawing, painting, photography, sculpture and installation. A Queer Little History of Art features a wide selection of artists who subverted the norms of their day via bold new forms of expression, as 70 outstanding works reveal how queer experiences have differed across time and place, and how art has been part of a story of changing attitudes and emerging identities from 1900 to the present."--Publisher's website.

Documents the history of homosexuality and its representation in art, using objects from the British Museum's collection that date from 9000 BC to the present to illustrate how same-sex love has always been a part of human history.

DIVProminent queer theorist offers a "low theory" of culture knowledge drawn from popular texts and films./div

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).

A sweet contemporary romance about a boy who falls in love with his best friend and the girls who help them get together. Jamie Peterson has a problem: Even though he tries to keep his feelings to himself, everyone seems to know how he feels about Mason, and the girls in his art class are determined to help them get together. Telling the truth could ruin Jamie and Mason’s friendship, but it could also mean a chance at happiness. Falling in love is easy, except when it’s not, and Jamie must decide if coming clean to Mason is worth facing his worst fear. In Fan Art, Sarah Tregay, the author of the romantic Love and Leftovers, explores the joys and pains of friendship, of pressing boundaries, and how facing our fears can sometimes lead us to what we want most. Fan Art is perfect for fans of contemporary romances as well as novels like Two Boys Kissing by David Levithan and Openly Straight by Bill Konigsberg.

A comprehensive and lavishly illustrated exploration of the relationship between art and homosexuality. This is the first book of its kind, a provocative, globe-spanning narrative history that considers the fascinating reciprocity between gay sexuality and art from the ancient world to today.

Seeing Differently offers a history and theory of ideas about identity in relation to visual arts discourses and practices in Euro-American culture, from early modern beliefs that art is an expression of an individual, the painted image a "world picture" expressing a comprehensive and coherent point of view, to the rise of identity politics after WWII in the art world and beyond. The book is both a history of these ideas (for example, tracing the dominance of a binary model of self and other from Hegel through classic 1970s identity politics) and a political response to the common claim in art and popular political discourse that we are "beyond" or "post-" identity. In challenging this latter claim, Seeing Differently critically examines how and why we "identify" works of art with an expressive subjectivity, noting the impossibility of claiming we are "post-identity" given the persistence of beliefs in art discourse and broader visual culture about who the subject "is," and offers a new theory of how to think this kind of identification in a more thoughtful and self-reflexive way. Ultimately, Seeing Differently offers a mode of thinking identification as a "queer feminist durational" process that can never be fully resolved but must be accounted for in thinking about art and visual culture. Queer feminist durationality is a mode of relational interpretation that affects both "art" and "interpreter," potentially making us more aware of how we evaluate and give value to art and other kinds of visual culture.