View source for Bibliography: ZAP! Art and Queer Revolution, 1969-present

==Alphabetical Bibliography of Writing Relevant to ZAP! Art and the Queer Revolution, 1969-present==

(What has been written about the visual arts and gay, lesbian, bisexual, transgender, and queer liberation movement?)


{{Unprotected}}

{{Stub}}


Aquin, Stéphane. “Existe-t-il un art homosexuel?,” Voir, dossier : Fierté gaie et lesbienne (1996): 17, etc. <full page range? English translation of this?>


Atkins, Robert. "Goodbye Lesbian/gay History, Hello 'Queer Sensibility': Meditating on Curatorial Practice."
''Art Journal'', Vol. 55, 1996. 


Atkins, Robert. ''Making Art and Raising Hell.''
:See: http://www.queer-arts.org/archive/show4/forum/atkins/atkins.html


Butler, Cornelia, and Lisa Gabrielle Mark, eds. WACK! Art and the Feminist Revolution. Place of pub: ? Co-published by The MIT Press, date of publication?<ref>: Publisher's Description: 

:In the 1970s, women changed the way art was made and talked about forever. WACK! Art and the Feminist Revolution is a long-awaited international survey that chronicles the impact of the feminist revolution on art made between 1965 and 1980, featuring groundbreaking works by artists such as Chantal Akerman, Lynda Benglis, Theresa Hak Kyung Cha, Valie Export, Mary Heilman, Sanja Ivekovic, Ana Mendieta, and Annette Messager, who came of age during that period — as well as others such as Louise Bourgeois, Judy Chicago, Sheila Levrant de Bretteville, Lucy Lippard, Alice Neel, and Yoko Ono, whose careers were well established.


:The book opens with a rich, full-color plate section in which works by over 120 artists are grouped into themes, including Abstraction, Body as Medium, Family Stories, Gender Performance, Knowledge as Power, and Making Art History. Highlights include the figurative paintings of Joan Semmel; the performance and film collaborations of Sally Potter and Rose English; the untitled film stills of Cindy Sherman; and the large-scale, craft-based sculptures of Magdalena Abakanowicz. Written entries on each artist offer key biographical and descriptive information, while accompanying essays by leading critics, art historians, and scholars offer a fresh look at feminist art practice from a cross-cultural perspective. Topics such as the relationship between American and European feminism, feminism and New York abstraction, women’s art under the Pinochet dictatorship, and mapping a global feminism provide a broad social context for the artworks themselves.


:Working in a diverse range of media, including painting, sculpture, installation, performance, photography, film, and video, the artists in WACK! made feminism one of the most important influences on art of the late twentieth century.


:Essays by: Cornelia Butler, Judith Russi Kirshner, Catherine Lord, Marsha Meskimmon, Richard Meyer, Helen Molesworth, Peggy Phelan, Nelly Richard, Valerie Smith, Abigail Solomon Godeau, and Jenni Sorkin


:Entries by: Esther Adler, Cornelia Butler, Elizabeth Hamilton, Jane Hyun, Susan Jenkins, Lisa Gabrielle Mark, Rebecca Morse, Corrina Peipon, Alexandra Schwartz, Jenni Sorkin, Linda Theung, and Dawson Weber.</ref>


Center for Lesbian and Gay Studies (CLAGS): Publications? Conferences?


Cotter, Holland. "Art after Stonewall: 12 artists interviewed." [Cover Story; Interview] Art in America,  June 1, 1994.


Cotter, Holland. "The Boom Is Over. Long Live the Art!" ''New York Times'', February 12, 2009. Arts and Leisure Section, pages 1, 25. 

:[1970s] "The ’70s economy, though stagnant, stabilized, and SoHo real estate prices rose. A younger generation of artists couldn’t afford to live there and landed on the Lower East Side and in South Bronx tenements. Again the energy was collective. . . : young art-school graduates (the country’s first major wave), street artists like Jean-Michel Basquiat and Fab Five Freddy Braithwaite, assorted punk-rebel types like Richard Hell and plain rebels like David Wojnarowicz."


:"Here too the aesthetic was improvisatory. Everybody did everything — painting, writing, performing, filming, photocopying zines, playing in bands — and new forms arrived, including hip-hop, graffiti, No Wave cinema, appropriation art and '''the first definable body of “out” queer art'''. So did unusual ways of exhibiting work: in cars, in bathrooms, in subways."


:"The best art was subversive, but in very un-’60s, nonideological ways. When, at midnight, you heard Klaus Nomi, with his bee-stung black lips and robot hair, channeling Maria Callas at the Mudd Club, you knew you were in the presence of a genius deviant whose very life was a political act."


:[1980s] "But again the moment was brief. The Reagan economy was creating vast supplies of expendable wealth, and the East Village became a brand name. Suddenly galleries were filled with expensive, tasty little paintings and objects similar in variety and finesse to those in Chelsea now. They sold. Limousines lined up outside storefront galleries. Careers soared. But the originating spark was long gone."


:"After Black Monday in October 1987 the art was gone too, and with the market in disarray and gatekeepers confused, entrenched barriers came down. Black, Latino and Asian-American artists finally took center stage and fundamentally redefined American art. '''Gay and lesbian artists, bonded by the AIDS crisis and the culture wars, inspired by feminism, commanded visibility with sophisticated updates on protest art'''.


Cotter, Holland. "Gay Pride (and Anguish) Around the Galleries." ''New York Times'',  June 24, 1994.

:On the 25th anniversary of gay liberation, Cotters reviews: 

:"Becoming Visible: The Legacy of Stonewall," at the Gottesman Exhibition Hall, New York Public Library.

:"Stonewall 25: Imaginings of the Gay Past, Celebrating the Gay Present," organized by Bill Arning at White Columns, including works by Cary S. Leibowitz and Rupert Goldsworthyl Patricia Cronin's startling, delicate watercolors of female genitalia; Steve Wolf's painstaking re-creations of the covers of paperback editions of the work of gay artists including Jean Genet and Allen Ginsberg; Stuart Netsky's installation of mirrors, cosmetics and vials of AIDS medications with a video of Bette Davis in "Dark Victory."

:"Truth Be Told: It's All About Love," including "Molotov Cocktail," by Barton Lidice-Benes, consisting of a glass tube of the artist's H.I.V.-positive blood fitted with explosives; Nancy Grossman's crayon drawing of a head whose face takes the form of a gun; a selection of pornographic drawings and cartoons -- a substantial subgenre in the context of gay art -- including examples by Tom of Finland, who began working in the 1940's, and G. B. Jones, at Lennon Weinberg.

:"Ciphers of Identity," a show at Ronald Feldman Fine Arts, including works by Adrian Piper, Nina Yankowitz, Elaine Reichek, Simon Leung and Lyle Ashton Harris and interesting videos.

:"Absence, Activism and the Body Politic" organized by Joseph R. Wolin, at Fischbach Gallery, including works by Lyle Ashton Harris;Bill Jacobson's fogged-out photographs of male heads; Ross Bleckner's series of painted "portraits," which look like blurry lozenges of light; Deborah Kass's silk-screen images of Gertrude Stein and Alice B. Toklas, titled "Let Us Now Praise Famous Women"; a quilt made of stitched-together color photographs of flowers by Hunter Reynolds; Billy Sullivan's deft pastel images of porno magazines scattered across a table top; Glenn Ligon's text pieces addressing the difficulties of growing up black and gay.

:Mr. Reynolds is represented by a striking one-man sculptural installation and a series of performances at the Contemporary Art Institute of New York. 

:Mr. Jacobson has a solo show at the Julie Saul Gallery (his best work, however, is at Fischbach).

:Ms. Kass appears in "Pride in Our Diversity," a show of small works by 50 lesbian and gay artists (Matthew Weinstein, Nicola Tyson, and Louise Fishman among them) organized by the critic Ronny Cohen and hung salon-style in the tiny lobby of the Colonial House Hotel, 318 West 22d Street, Chelsea.

:Leslie-Lohman Gay Art Foundation Gallery: long involved in custodial efforts to collect and preserve gay art. One section of the three-part show "Diamonds, Gold and Myrrh" is devoted to the role of drag in gay life.  A second room in the same gallery houses a simple, touching installation of portrait photographs by Yoshua Eyal of men and women who have cared for AIDS patients.

:"Fairy Tales" at CRG Art Inc. is a gathering of works by Scott Smith, who died of AIDS last year at 31.

:"Pride = Power: A Salute to the 25th Anniversary of the Stonewall Rebellion," a display offering photo documentation of Gay and Lesbian Pride Day marches from 1970 to 1993, at the Museum of the City of New York


Holland Carter. "Art in review. HISTORY KEEPS ME AWAKE AT NIGHT" [Reviews of "HISTORY KEEPS ME AWAKE AT NIGHT: A Genealogy of Wojnarowicz," curated by Photi Giovanis and Jamie Sterns, at P.P.O.W., 555 West 25th Street, New York City, and "SIDE X SIDE," curated by Dean Daderko for Visual AIDS, at La MaMa La Galleria, 6 East First Street, New York City.] ''New York Times'', July 25, 2008, Page B25. http://www.nytimes.com/2008/07/25/arts/design/25gall.html

:Woknarowicz review cites: Mike Estabrook’s painting “David Wojnarowicz in Heaven” (2007); Emily Roysdon’s adaptation of Wojnarowicz's “Arthur Rimbaud in New York” series; Keith Mayerson’s portrait of Matthew Shepard; Matt Wolf’s video “Smalltown Boys”; Frédéric Moffet’s 2006 video “Jean Genet in Chicago”; Zoe Strauss’s photomontage “With Love”; Carrie Mae Weems’s “Hampton Project.” Carter says: "Wojnarowicz set an example of how to make queer art that didn’t necessarily read as gay art," and "He also made clear that gender politics is always part of a larger politics of class and race." 

:Side by Side review cites: "work by three Wojnarowicz contemporaries who died of the disease [AIDS] -- Scott Burton (1939-1989), Nicolas Moufarrege (1947-1985), and Martin Wong (1946-1999) -- and by two other artists, Kate Huh and Carrie Yamaoka, whose work registered its impact."


Cotter, Holland.  "Art Review. Waking Up to Dormant Gay Imagery." New York Times, August 25, 1995.
: Reviews "Male Desire: Homoerotic Images in 20th-Century American Art", curated by Jonathan Weinberg, at Mary Ryan Gallery, one of a handful of shows that emerged from the 25th anniversary of the gay liberation movement the previous summer.


Cotter, Holland. "Video Art Thinks Big: That’s Showbiz." ''New York Times'', January 6, 2008. [Discusses "queer" video: "Play Pause" by Sadie Benning (b. 1973), video animations by Nathalie Djurberg (b. 1978), “All My Churen” by Kalup Linzy (b. 1971) “I-Be Area”  by Ruan Trecartin (b. 1981).]


Ellenzweig, Allen, ''The Homoerotic Photograph: Male Images from Durieu/Delacroix to Mapplethorpe'' (NY:  Columbia University Press, 1992).


Fitzroy. "How Queer Is Art History? That’s the title of the upcoming program at the Clark Art Institute in Williamstown, Massachusetts, exploring “the complex and controversial subject of the relationship between homosexuality, queer theory and queer studies, and the discipline of art history.”
:Roger Kimball responds: I hope someone will propound the equally challenging question, namely “How Long Will the Public Put Up With Such Rubbish Masquerading as Serious Inquiry? That is a conversation I would dearly like to hear." Posted: March 15th, 2008, at: http://www.artsandammo.com/2008/03/15/how-queer-is-art-history/


GLBTQ Encyclopedia (on line)


Johnston, Jill.


Katz, Jonathan David


Meyer, Richard. "Gay Power circa 1970: Visual Strategies for Sexual Revolution." ''GLQ: A Journal of Lesbian and Gay Studies''. Volume 12, Number 3, 2006, pp. 441-464


Murray, Karl-Gilbert.  [[http://www.utoronto.ca/gallery/archives/gay_body_essay.htm|"The Gay Body/ Le Corps Gay".]]


Perreault, John. “I’m Asking: Does It Exist? What Is It? Whom Is It For?,” ''Art Forum'', no. 19 (1980-81): 74, etc. Also see articles in Village Voice and Soho News, late 1960s, early '70s, and after.


[http://www.queer-arts.org/ Queer Arts Archive]


Smalls, James.


Trebay, Guy. [Review, “The Male Gaze,” at powerHouse Arena in the Dumbo area of Brooklyn.] ''New York Times'', May 6, 2007. Picture caption: "WELCOME TO THE MAINSTREAM."


Weinberg, Jonathan


Back to: [[ZAP! Art and the Queer Revolution, 1969-present]]