Art: Gender, Sexuality, and Modern Art Reading List
Books:
Art AIDS America by Call Number: Lockwood Library: N8217 .A5 K38 2015ISBN: 0295994940Publication Date: 2015-01-01Art AIDS America is the first comprehensive overview and reconsideration of 30 years of art made in response to the AIDS epidemic in the United States. This book foregrounds the role of HIV/AIDS in shifting the development of American art away from the cool conceptual foundations of postmodernism and toward a new, more insistently political and autobiographical voice. Art AIDS America surveys more than 100 works of American art from the early 1980s to the present, reintroducing and exploring the whole spectrum of artistic responses to HIV/AIDS, from in-your-face activism to quiet elegy.
Art and Homosexuality by Call Number: Lockwood Library: NX180 .H6 R44 2011ISBN: 0195399072Publication Date: 2011-05-26Lavishly illustrated with over 175 black-and-white and color images that range from high to popular culture and from Ancient Greece to contemporary America, Christopher Reed's arresting book reveals the deep linkages between art and homosexuality as we understand those terms. This is the first book to fully explore the interdependence between the identity of the artist and the homosexual. It offers a bold, globe-spanning narrative that draws on artwork from all the important periods in the Western tradition, including classical, Renaissance, and contemporary, with special focus on the modern period. It was in the nineteenth century that the identities of the avant-garde artist and the homosexual took shape, and almost as quickly overlapped. The figures involved - Ingres, Courbet, Wilde, Whitman - are among that era's most iconic artists. The development of twentieth-century art - exemplified in the work of figures like Gertrude Stein, Jasper Johns, David Hockney, and David Wojnarowicz - this book argues is simply not understandable apart from the concurrent development of ideas about sexual identity. This highly readable volume challenges the ideas of many prominent art critics and punctures the platitudes surrounding discussions of both art and sexuality. The book discusses what it means to be an insider and outsider, how sexuality came to define one's fundamental humanity, and what people risk (and gain) in rejecting economic and social conformity. Reed shows that many of the core ideas that define modern thought more generally are nearly indecipherable without an understanding of this pairing. The debates that have surrounded artists and homosexuals in effect capture the dramatic history of the evolution of the modern mind.
Art and Queer Culture by Call Number: Lockwood Library: N72 .H64 L67 2013ISBN: 0714849359Publication Date: 2013-04-01Art and Queer Culture is a comprehensive and definitive survey of artworks that have constructed, contested or otherwise responded to alternative forms of sexuality. Not a book exclusively about artists who identify themselves as gay or lesbian, Art and Queer Culture
instead traces the shifting possibilities and constraints of sexual identity that have provided visual artists with a rich creative resource over the last 125 years.
Eroticism in Western Art by Call Number: Lockwood Library: N8217.E6 L8 1972ISBN: 0195199464Publication Date: 1972-01-01
The Female Nude by Call Number: Lockwood Library: N7573 .N4 1992ISBN: 0415026784Publication Date: 1992-12-22Anyone who examines the history of Western art must be struck by the prevalence of images of the female body. More than any other subject, the female nude connotes `art'. The framed image of a female body, hung on the walls of an art gallery, is an icon of Western culture, a symbol of civilization and accomplishment. But how and why did the female nude acquire this status? The Female Nude brings together, in an entirely new way, analysis of the historical tradition of the female nude and discussion of recent feminist art, and by exploring the ways in which acceptable and unacceptable images of the female body are produced and maintained, renews recent debates on high culture and pornography. The Female Nude represents the first feminist survey of the most significant subject in Western art. It reveals how the female nude is now both at the centre and at the margins of high culture. At the centre, and within art historical discourse, the female nude is seen as the visual culmination of enlightenment aesthetics; at the edge, it risks losing its respectability and spilling over into the obscene.
Gay Artists in Modern American Culture by Call Number: Lockwood Library: NX180 .H6 S54 2007ISBN: 0807831212Publication Date: 2007-09-10Today it is widely recognized that gay men played a prominent role in defining the culture of mid-twentieth-century America, with such icons as Tennessee Williams, Edward Albee, Aaron Copland, Samuel Barber, Montgomery Clift, and Rock Hudson defining much of what seemed distinctly "American" on the stage and screen. Even though few gay artists were "out," their sexuality caused significant anxiety during a time of rampant antihomosexual attitudes. Michael Sherry offers a sophisticated analysis of the tension between the nation's simultaneous dependence on and fear of the cultural influence of gay artists. Sherry places conspiracy theories about the "homintern" (homosexual international) taking control and debasing American culture within the paranoia of the time that included anticommunism, anti-Semitism, and racism. Gay artists, he argues, helped shape a lyrical, often nationalist version of American modernism that served the nation's ambitions to create a cultural empire and win the Cold War. Their success made them valuable to the country's cultural empire but also exposed them to rising antigay sentiment voiced even at the highest levels of power (for example, by President Richard Nixon). Only late in the twentieth century, Sherry concludes, did suspicion slowly give way to an uneasy accommodation of gay artists' place in American life.
Gender, Sexuality and Museums by Call Number: Lockwood Library: AM7 .G45 2010ISBN: 0415554918Publication Date: 2010-08-27Gender, Sexuality and Museums provides the only repository of key articles, new essays and case studies for the important area of gender and sexuality in museums. It is the first reader to focus on LGBT issues and museums, and the first reader in nearly 15 years to collect articles which focus on women and museums. At last, students of museum studies, women's studies, LGBT studies and museum professionals have a single resource. The book is organised into three thematic parts, each with its own introduction. Sections focus on women in museum work, applications of feminist and LGBT theories to museum exhibitions, exhibitions and collections pertaining to women and individuals who are LGBT. The Case studies in a fourth part provide different perspectives to key topics, such as memorials and memorializing; modernism and museums; and natural history collections. The collection concludes with a bibliographic essay evaluating scholarship to date on gender and sexuality in museums. Amy K. Levin brings together outstanding articles published in the past as well as new essays. The collection's scope is international, with articles about US, Canadian, and European institutions. Gender, Sexuality and Museums: A Routledge Readeris an essential resource for those studying gender and sexuality in the museum.
Hide/Seek by Call Number: Lockwood Library: N7593 .K38 2010ISBN: 1588342999Publication Date: 2010-11-02An entirely new interpretation of modern American portraiture based on the history of sexual difference. Hide/Seek: Difference and Desire in American Portraiture, companion volume to an exhibition of the same name at the National Portrait Gallery, Smithsonian Institution, traces the defining presence of same-sex desire in American portraiture through a seductive selection of more than 140 full-color illustrations, drawings, and portraits from leading American artists. Arcing from the turn of the twentieth century, through the emergence of the modern gay liberation movement in 1969, the tragedies of the AIDS epidemic, and to the present, Hide/Seek openly considers what has long been suppressed or tacitly ignored, even by the most progressive sectors of our society: the influence of gay and lesbian artists in creating American modernism. Hide/Seek shows how questions of gender and sexual identity dramatically shaped the artistic practices of influential American artists such as Thomas Eakins, Romaine Brooks, Marsden Hartley, Georgia O'Keeffe, Charles Demuth, Jasper Johns, Robert Rauschenberg, Andrew Wyeth, Andy Warhol, Robert Mapplethorpe, and many more--in addition to artists of more recent works such as Felix Gonzalez-Torres, Glenn Ligon, Catherine Opie, and Cass Bird. The authors argue that despite the late-nineteenth-century definition and legal codification of the "homosexual," in reality, questions of sexuality always remained fluid and continually redefined by artists concerned with the act of portrayal. In particular, gay and lesbian artists--of but not fully in the society they portrayed--occupied a position of influential marginality, from which vantage point they crafted innovative and revolutionary ways of painting portraits. Their resistance to society's attempt to proscribe them forced them to develop new visual vocabularies by which to code, disguise, and thereby express their subjects' identities--and also their own. Bringing together for the first time new scholarship in the history of American sexuality and new research in American portraiture, Hide/Seek charts the heretofore hidden impact of gay and lesbian artists on American art and portraiture and creates the basis for the necessary reassessment of the careers of major American artists--both gay and straight--as well as of portraiture itself.
Lesbian Art in America by Call Number: Lockwood Library: NX650 .H6 H36 2000ISBN: 0847822486Publication Date: 2000-09-02The first definitive history of lesbian art in the United States presents a collection of artwork, created since 1970 within the context of gay culture and political activism, along with critical analyses of the movement and profiles of thirty prominent lesbian artists, including Kate Millett, Joan
The Masculine Masquerade by Call Number: Lockwood Library: N8222 .M38 M38 1995ISBN: 0262161540Publication Date: 1995-03-16This text explores often-ignored issues of masculinity in the visual arts as well as models and concepts of masculinity in literature, film and the mass media. Drawing on the work of feminist and gay studies and the work being done in psychology, sociology, and gender studies, the essays analyze the conventional and limited definition of masculinity as a social and cultural construct. They seek to expand that definition to include multiple masculinities and factors such as race, class, ethnicity and object choice.
Outlaw Representation by Call Number: Lockwood Library: N8217 .H67 M49 2002ISBN: 0195107608Publication Date: 2002-01-17From the U.S. Navy's 1934 confiscation of a painting of sailors on shore leave to contemporary culture wars over funding for the arts, conflicts surrounding homosexuality and creative freedom have shaped the history of modern art in America. Richard Meyer's Outlaw Representation tells the charged story of this strife through pioneering analysis of the works of gay artists and the circumstances under which these works have been attacked, suppressed, or censored outright. Focusing on the careers of Paul Cadmus, Andy Warhol, Robert Mapplethorpe, David Wojnarowicz, Gran Fury, and HollyHughes, Outlaw Representation explores how gay artists responded to the threat of censorship by producing their own "outlaw representations" of homosexuality. Instead of acquiescing to attacks on their work as indecent or obscene, these artists used the outlaw status of homosexuality to propose new forms of social, sexual, and creative life. Richly illustrated, Outlaw Representation includes close to 200 striking images, ranging from the art of celebrated figures such as Andy Warhol and Robert Mapplethorpe to physique-magazine photographs and gay liberation posters. Throughout, images that once provoked censorship now elicit close visual analysis and careful historical investigation. Engagingly written and sweepingly researched, Outlaw Representation promises to be a landmark in the study of twentieth-century American art, politics, and sexuality.
The Pink Glass Swan by Call Number: Lockwood Library: N72 .F45 L56 1995ISBN: 1565842138Publication Date: 1995-03-01In the 1970s, Lucy R. Lippard, author of the highly original and popular Mixed Blessings, merged her art-world concerns with those of the then-fledgling women's movement. In a career that spans sixteen books and scores of articles, catalogs, and essays on art, political activism, feminism, and multiculturalism, her engaging and provocative writings have heralded a new way of thinking about art and its role in the feminist movement. This new collection of previously published essays covers more than two decades of Lippard's thinking on the ever-evolving definitions of feminist art, the convergence of high and low art, political and activist art, and the contributions of feminist theory to the politics of identity that infuses the production and exhibition of much of today's fine and popular art. With a new introduction from the author, The Pink Glass Swan brings together selections from two of Lippard's leading works, From the Center: Feminist Essays on Art and Get the Message?: A Decade of Art for Social Change, and numerous other articles written for newspapers, magazines, and art catalogs across the country.
Queer by Call Number: Lockwood Library: NX180 .H6 Q44 2016ISBN: 0262528673Publication Date: 2016-02-19Key artists' writings that have influenced and catalyzed contemporary queer artistic practice. Historically, "queer" was the slur used against those who were perceived to be or made to feel abnormal. Beginning in the 1980s, "queer" was reappropriated and embraced as a badge of honor. While queer draws its politics and affective force from the history of non-normative, gay, lesbian, and bisexual communities, it is not equivalent to these categories, nor is it an identity. Rather, it offers a strategic undercutting of the stability of identity and of the dispensation of power that shadows the assignment of categories and taxonomies. Artists who identify their practices as queer today call forth utopian and dystopian alternatives to the ordinary, adopt outlaw stances, embrace criminality and opacity, and forge unprecedented kinships, relationships, loves, and communities. Rather than a book of queer theory for artists, this is a book of artists' queer tactics and infectious concepts. By definition, there can be no singular "queer art." Here, in the first Documents of Contemporary Art anthology to be centered on artists' writings, numerous conversations about queer practice are brought together from diverse individual, social and cultural contexts. Together these texts describe and examine the ways in which artists have used the concept of queer as a site of political and institutional critique, as a framework to develop new families and histories, as a spur to action, and as a basis from which to declare inassimilable difference. Artists and writers include Nayland Blake, Gregg Bordowitz, Leigh Bowery, AA Bronson, A. K. Burns, Giuseppe Campuzano, Tee Corinne, Barbara DeGenevieve, Dyke Action Machine!, Elmgreen & Dragset, Rotimi Fani-Kayode, Simon Fujiwara, Malik Gaines, Felix Gonzalez-Torres, Gran Fury, Sunil Gupta, Hahn Thi Pham, Harmony Hammond, Sharon Hayes, Hudson, Roberto Jacoby, Derek Jarman, Isaac Julien, Mahmoud Khaled, Zoe Leonard, Lesbian Avengers, Catherine Lord, Ma Liuming, LTTR, Allyson Mitchell, Zanele Muholi, Carlos Motta, Ocaña, Hélio Oiticica, Catherine Opie, Ridykeulous (Nicole Eisenman & A.L. Steiner), Marlon Riggs, Emily Roysdon, Prem Sahib, Assoto Saint, Tejal Shah, Amy Sillman, Jack Smith, Wolfgang Tillmans, Toxic Titties, Danh Vo, David Wojnarowicz, Wu Tsang, Yan Xing, Las Yeguas del Apocalipsis, Akram Zaatari, Sergio Zevallos
Visual Culture Reader by Call Number: Lockwood Library: NX458 .V575 1998ISBN: 0415141338Publication Date: 1998-12-22The Visual Culture Reader brings together the key writings in the exciting new interdisciplinary field of visual culture. Key features of the Reader include: * a wealth of visual forms including photography, painting, sculpture, advertising, virtual reality and other electronic imaging * thematic sections, each with an introduction by the editor * sections addressing What Is Visual Culture; Visual Culture and Everyday Life; Virtuality: Virtual Bodies, Virtual Spaces; Race, Empire and After; Postcolonial Visual Cultures; Gender and Sexuality * two specially-written introductory articles, by Irit Rogoff and Ella Shohat * a stunning line-up of authors, from Roland Barthes to Donna Haraway. Taken as a whole, the essays provide a comprehensive response to the diversity of contemporary visual culture, and address the need of our modern and postmodern culture to render experience in visual form. Contributors include: Roland Barthes, Judith Butler, Anthea Callen, James Clifford, Michel de Certeau, René Descartes, Richard Dyer, John Fiske, Michel Foucault, Coco Fusco, Paul Gilroy, Donna Haraway, bell hooks, Marshall McLuhan, Lynda Nead, Griselda Pollock, Mary-Louise Pratt, Irit Rogoff, Andrew Ross, Ella Shohat and Paul Virilio.
Warhol and Mapplethorpe by Call Number: Lockwood Library: N6490 .W35 2015ISBN: 9780300214338Publication Date: 2015-10-27A landmark examination of iconic and provocative portraits by Warhol and Mapplethorpe, presented side by side and in depth for the first time Andy Warhol (1928-1987) and Robert Mapplethorpe (1946-1989) are well known for significant work in portraiture and self-portraiture that challenged gender roles and notions of femininity, masculinity, and androgyny. This exciting and original book is the first to consider the two artists together, examining the powerful portraits they created during the vibrant and tumultuous era bookended by the Stonewall riots and the AIDS crisis. Several important bodies of work are featured, including Warhol's Ladies and Gentlemen series of drag queen portraits and his collaboration with Christopher Makos on Altered Image, in which Warhol was photographed in makeup and wigs, and Mapplethorpe's photographs of Patti Smith and of female body builder Lisa Lyon. These are explored alongside numerous other paintings, photographs, and films that demonstrate the artists' engagement with gender, identity, beauty, performance, and sexuality, including their own self-portraits and portraits of one another. Essays trace the convergences and divergences of Warhol and Mapplethorpe's work, and examine the historical context of the artists' projects as well as their lasting impact on contemporary art and queer culture. Firsthand accounts by the artists' collaborators and subjects reveal details into the making and exhibition of some of the works presented here. With an illustrated timeline highlighting key moments in the artists' careers, and more than 90 color plates of their arresting pictures, this book provides a fascinating study of two of the most compelling figures in 20th-century art.
Ways of Seeing by Call Number: Lockwood Library: N7430.5 .W39 1977bISBN: 0140135154Publication Date: 1990-12-01John Berger's seminal text on how to look at art John Berger's Ways of Seeing is one of the most stimulating and the most influential books on art in any language. First published in 1972, it was based on the BBC television series about which the Sunday Times critic commented: "This is an eye-opener in more ways than one: by concentrating on how we look at paintings . . . he will almost certainly change the way you look at pictures." By now he has. "The influence of the series and the book . . . was enormous . . . It opened up for general attention to areas of cultural study that are now commonplace." --Geoff Dyer "Berger has the ability to cut right through the mystification of the professional art critics . . . He is a liberator of images: and once we have allowed the paintings to work on us directly, we are in a much better position to make a meaningful evaluation." --Peter Fuller, Arts Review- Women, Art, and Power and Other Essays by Call Number: Lockwood Library: N72.F45 N64 1988ISBN: 0064358526Publication Date: 1988-12-01"Women, Art, and Power --seven landmark essays on women artists and women in art history--brings together the work of almost twenty years of scholarship and speculation."
Contemporary Artists:
Abbott, Berenice: "American photographer. She spent a term at the Ohio State University in Columbus (1917–18) and then studied sculpture independently in New York (1918–21) where she met (Henri-Robert-)Marcel Duchamp and Man Ray. She left the USA for Paris in 1921 where she studied at the Académie de la Grande Chaumière before attending the Kunstschule in Berlin for less than a year in 1923. From 1924 to 1926 she worked as Man Ray’s assistant and first saw photographs by (Jean-)Eugène(-Auguste) Atget in Man Ray’s studio in 1925. Her first one-woman show, at the gallery Le Sacre du Printemps in Paris in 1926, was devoted to portraits of avant-garde personalities such as Jean Cocteau, James Joyce, and André Gide."
Barlow, Margaret. 2003 "Abbott, Berenice." Grove Art Online. 27 Jul. 2018. http:////www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000000080.
Bacon, Francis: "English painter. One of the most individual, powerful, and disturbing artists of the period following World War II, he took the human figure as his subject at a time when art was dominated by abstract styles, and he was also one of the first to depict overtly homosexual themes. Though largely self-taught, he was widely read and of great independence of mind. His subject-matter and procedures of painting are too personal to be imitated with any real success by other artists, but in Britain and further afield he remains a towering example to those dedicated to the depiction of the human figure."
Alley, Ronald. 2003 "Bacon, Francis." Grove Art Online. 27 Jul. 2018. http:////www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000005594.
Eisenman, Nicole: "French-born American painter and draftsman. Eisenman was born in France, where her father was stationed as an army psychiatrist, and grew up in Scarsdale, NY. In 1987 she earned her BFA in painting at the Rhode Island School of Design. She then began creating an oeuvre of critically acclaimed paintings, murals, drawings, cartoons and illustrations that seamlessly weave together the subjects and symbols of art history, ancient mythology, popular culture and feminist inquiry. Eisenman also mined her own personal interests, humor and biography and in the process created unique, biting and purposefully anachronistic juxtapositions. Her wickedly witty works subvert culturally pervasive social and gender stereotypes."
Tinti, Mary M. 2011 "Eisenman, Nicole." Grove Art Online. 27 Jul. 2018. http:////www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7002090197.
Gilbert & George: "British sculptors. Gilbert Proesch (b Dolomites, Italy, 17 Sept 1943) and George Passmore (b Plymouth, Devon, 8 Jan 1942) met in 1967 as students at St Martin’s School of Art in London. By 1969 they were reacting against approaches to sculpture then dominant at St Martin’s, which they regarded as elitist and poor at communicating outside an art context. Their strategy was to make themselves into sculpture, so sacrificing their separate identities to art and turning the notion of creativity on its head. To that end Gilbert and George became interchangeable cyphers and their surnames were dispensed with."
Wilson, Andrew. 2003 "Gilbert and George." Grove Art Online. 27 Jul. 2018. http:////www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000032200.
Gober, Robert: "American sculptor (see fig.; see image page for more views). He studied literature and then fine art at Middlebury College, VT (1972–6) and spent a year at the Tyler School of Art, Rome (1974–5). Gober settled in New York in 1976, where he earned a living building stretchers for artists, renovating lofts, and crafting doll’s houses. His first solo exhibition (1984) was at the Paula Cooper Gallery, New York, where he exhibited Slides of a Changing Painting (80 slides, 1982–3; artist’s col.). For this work he mounted a camera directly above a small board, over which he painted images during one year, taking hundreds of slides documenting the life of the painting, which he later edited down. In its attention to the process of painting and transformation, Slides is considered important for his later works."
Barlow, Revised and updated by Margaret. 2003 "Gober, Robert." Grove Art Online. 27 Jul. 2018. http:////www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000032928
Gonzalez-Torres, Felix: "American sculptor and photographer of Cuban birth. He moved in 1979 to New York, where he completed a BFA in photography at the Pratt Institute (1983) and an MFA at the International Center of Photography, New York University (1987), as well as enrolling in the Whitney Museum of American Art Independent Study Program. In 1987 he joined Group Material, a New York-based group of artists whose intention was to work collaboratively, adhering to principles of cultural activism and community education. His own engagement as a gay man with socio-political issues, as well as his exploration of the way in which politics can infiltrate personal life, forms the background to his work, centered around the interaction of public and private spheres."
Stonard, John-Paul. 2000 "Gonzalez-Torres, Felix." Grove Art Online. 27 Jul. 2018. http:////www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000096817.
Haring, Keith: "American painter. He graduated from Kutztown Area Senior High School in 1976 and spent some time travelling across America before studying at the Art Centre in Pittsburgh. In 1978 he moved to New York to attend the School of Visual Arts, where his original approach was soon apparent in graffiti-inspired symbols expanded into large-scale designs of generative energy. At the height of the Punk Rock movement in the late 1970s he participated in the lively New York club scene, working with such street artists as SAMO© (Jean-Michel Basquiat)."
2003 "Haring, Keith." Grove Art Online. 27 Jul. 2018. http:////www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000036672.
Hockney, David: "English painter, printmaker, photographer, and stage designer. Perhaps the most popular and versatile British artist of the 20th century, Hockney made apparent his facility as a draughtsman while studying at Bradford School of Art between 1953 and 1957, producing portraits and observations of his surroundings under the influence of the Euston Road School and of Stanley Spencer. From 1957 to 1959 he worked in hospitals as a conscientious objector to fulfill the requirements of national service. On beginning a three-year postgraduate course at the Royal College of Art, London, in 1959, he turned first to the discipline of drawing from life in two elaborate studies of a skeleton before working briefly in an abstract idiom inspired by the paintings of Alan Davie."
Livingstone, Marco. 2003 "Hockney, David." Grove Art Online. 27 Jul. 2018. http:////www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000038399.
Leibovitz, Annie: "American photographer. Born Anna-Lou Leibovitz, she was one of six siblings in a family that traveled extensively because her father was an officer in the US Air Force. Her mother, who taught modern dance, encouraged her daughter to pursue a career in the arts. While a student at the San Francisco Art Institute, Leibovitz at first focused on painting, but then she took a photography class that captivated her. After spending a brief period on a kibbutz in Israel, she earned her BFA in 1971. Leibovitz landed a job as a staff photographer with the new magazine Rolling Stone and began to document the rock music scene. For ten years Leibovitz was the publication’s chief photographer. In 1983 she began to work for Vanity Fair, photographing celebrities for numerous covers and feature articles and her work has been published in many other magazines."
Sider, Sandra. 2011 "Leibovitz, Annie." Grove Art Online. 27 Jul. 2018. http:////www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7002090447.
Ligon, Glenn: "African American multimedia artist. His work deals with issues surrounding sexuality, race, identity, language and representation. Ligon attended the Rhode Island School of Design in 1980 but ultimately received a BA in 1982 from Wesleyan University in Middleton, CT. He subsequently participated in the Whitney Independent Studies program in 1985."
Yun, Michelle. 2011 "Ligon, Glenn." Grove Art Online. 27 Jul. 2018. http:////www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7002090466.
Mapplethorpe, Robert: "American photographer, sculptor and collagist. In the early 1970s, after studying at the Pratt Institute of Art in Brooklyn (1963–70), he produced a number of assemblages and collages from magazine photographs often altered by spray painting. In one such work, Julius of California (1971; Charles Cowles priv. col., see Marshall, p. 21), he drew a circle around the male figure’s genitals as a subversion of the usual practice of censorship. He soon began to take his own black-and-white photographs with a Polaroid camera, incorporating them into collages (e.g. Self-portrait, 1971; Charles Cowles priv. col., see Marshall, p. 17) or arranging them in sequences, as in Patti Smith (Don’t Touch here) (1973; artist’s col., see Marshall, p. 27), a portrait of the poet and singer who was one of his favourite models. Within a year of showing his Polaroids in his first solo show (New York, Light Gal., 1973) he began to use a large format press camera, followed soon afterwards by a Hasselblad. As his interest in photography increased, he looked more closely for guidance to such earlier photographers as Nadar, Julia Margaret Cameron and F. Holland Day. His photographs of the later 1970s include a number of homoerotic, sado-masochistic images, such as Helmut (1978; see Marshall, p. 70). Here, as in other works, the presentation of a carefully posed figure against a plain paper or cloth backdrop creates a strong formal structure in counterpoint to the shock value and intensity of the subject-matter. This formal emphasis is even more apparent in the flower and still-life works, such as Pan Head and Flower (1976; Holly Solomon priv. col., see Marshall, p. 46)."
Fontanella, Lee. 2003 "Mapplethorpe, Robert." Grove Art Online. 27 Jul. 2018. http:////www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000054140.
Muhol, Zanelei : "South African photographer and video and installation artist. Muholi has identified as a black Zulu lesbian and her artworks engage with her own identity at the same time as they seek to integrate LGBTI (lesbian, gay, bisexual, transgender, and intersex) identities into mainstream acceptance in South Africa and elsewhere."
Kart, Susan. 2016 "Muholi, Zanele." Grove Art Online. 27 Jul. 2018. http:////www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7002290034.
Sepuya, Paul Mpagi: "Informed by a critical understanding of art history, Paul Mpagi Sepuya deconstructs archetypal subjects like the male nude and self-portrait, meditating on the fragmentation of queer and photographed bodies. Manipulating perspective using mirrors, drapery, and collage, the Los Angeles-based photographer complicates subjective relationships within an image. The artist’s studio provides context for Sepuya’s site-specific commentary on portrait photography, the artistic process, and queer identities. Within this erotic queer space where experimentation is possible, Sepuya explores the tension between elusive desire and ambiguous sensuality. Sepuya wrote, “I want these queer, black photographs to exist within historic and contemporary conversations about photography as a whole, affirming the medium and my personal investment in its possible futures.”
"Paul Mpagi Sepuya." Artsy.net. https://www.artsy.net/artist/paul-mpagi-sepuya?page=1&sort=-partner_updated_at. (accessed July 30, 2018).
Thomas, Mickalene: "Thomas received her BFA from the Pratt Institute in 2000 and her MFA from the Yale University School of Art in 2002. Following her graduate training she completed residencies at the Studio Museum in Harlem and the Versailles Foundation Munn Artists Program in Giverny, France. She is best known for monumental photographs and paintings that fuse the aesthetics of 1970s styled domestic interiors, Blaxploitation film, Black Power ideologies, and Western portraiture. Explicitly feminist, Thomas’s imagery interweaves set and costume design, photography, collage, painting, and rhinestone ornamentation to explore the visual textures of Black women’s identities by illuminating the plasticity of concepts such as beauty, femininity, sexuality, subjectivity, and power."
Morgan, Kelli. 2015 "Thomas, Mickalene." Grove Art Online. 27 Jul. 2018. http:////www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7002288056.
Warhol, Andy: "American painter, printmaker, sculptor, draughtsman, illustrator, film maker, writer, and collector. After studying at the Carnegie Institute of Technology in Pittsburgh from 1945 to 1949, he moved to New York and began working as a commercial artist and illustrator for magazines and newspapers. His work of the 1950s, much of it commissioned by fashion houses, was charming and often whimsical in tone, typified by outline drawings using a delicate blotted line that gave even the originals a printed appearance; a campaign of advertisements for the shoe manufacturers I. Miller & Sons in 1955–6 (Kornbluth, pp. 113–21) was particularly admired, helping to earn him major awards from the Art Directors Club."
Livingstone, Marco. 2003 "Warhol, Andy." Grove Art Online. 27 Jul. 2018. http:////www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000090699.
Wojnarowicz, David: "American painter, photographer, writer, film maker, performance artist, and gay rights activist. After an abusive and violent childhood, Wojnarowicz spent his teenage years as a male prostitute in the streets of New York City. He eventually attended the High School of Music and Art in Manhattan and first became noticed as a graffiti artist by stencilling images of burning houses onto buildings in New York, for screening Super-8 films of abandoned buildings, and as a member of a punk band called 3 Teens Kill 4."
Ottmann, Klaus. 2013 "Wojnarowicz, David." Grove Art Online. 27 Jul. 2018. http:////www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000097017.