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Molly Landreth , Ronni and Jo, Seattle, WA , 2005. Barnett Newman, Onement I , 1948. Jackson Pollock, Number 1, 1950 (Lavender Mist) , 1950. Hans Namuth photographs of Jackson Pollock, 1950. Hans Namuth , Willem and Elaine de Kooning , 1953 . Jackson Pollock and Lee Krasner.
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John Cage and Merce CunninghamCage, Cunningham, and Robert Rauschenberg
Gran Fury, Read My Lips (Boys), 1988Gran Fury, The Government has Blood on Its Hands, 1988
Witnesses: Against Our Vanishing, November 16 – January 6, 1990, Protest outside Artists Space
The influence of the New Morality and the effective use of AIDS as the most powerful tool for sexual repression makes it even more imperative to continue to create and exhibit art that portrays sexuality as a positive force. nan goldin
Robert Mapplethorpe, The Perfect Moment, The Institute of Contemporary Art, Philadelphia, December 9 – January 29, 1989
Robert Mapplethorpe, Joe, 1978Ken Moody and Robert Sherman, 1984
Cover of ARTFORUM, September 1989Robert Mapplethorpe, Rosie, 1976
The NEA Four (and Martha Wilson): Holly Hughes, Tim Miller, John Fleck, Karen Finley, 2004
Hide/Seek: Difference and Desire in American Portraiture, National Portrait Gallery, Smithsonian, Washington, DC, October 30 – February 13, 2011
David Wojnarowicz, A Fire in My Belly(film in progress), 1986-87 (still)
Protests against the Smithsonian’s removal of Wojnarowicz’sA Fire in My Belly from Hide/Seek: Difference and Desire in American Portraiture
Queer and other insurgents have long striven, often dangerously or scandalously, to cultivate what good folks used to call criminal intimacies. We have developed relations and narratives that are only recognized as intimate in queer culture: girlfriends, gal pals, fuckbuddies, tricks. Queer culture has learned not only how to sexualize these and other relations, but also to use them as a context for witnessing intense and personal affect while elaborating a public world of belonging and transformation. Making a queer world has required the development of kinds of intimacy that bear no necessary relation to domestic space, to kinship, to the couple form, to property, or to the nation. laurenberlant & michaelwarner
If we presume that sexuality is crucial to bodily orientation, to how we inhabit spaces, then the differences between how we are orientated sexually are not only a matter of “which” objects we are orientated toward, but also how we extend through our bodies in the world. Sexuality would not be seen as determined only by object choice, but as involving differences in one’s very relation to the world—that is, in how one “faces” the world or is directed toward it. Or rather, we could say that orientations toward sexual objects affect other things that we do, such that different orientations, different ways of directing one’s desires, means inhabiting different worlds. saraahmed
It is not simply the object that determines the “direction” of one’s desire; rather the direction one takes makes some others available as objects to be desired. Being directed toward the same sex or the other sex becomes seen as moving along different lines. saraahmed
From Awkward Family Photos website(with apologies if these are your family photos)
From Awkward Family Photos website(again, sincere apologies, if these are your photos)
Still from The Rocky Horror Picture Show, 1975Frank, Brad, and Janet
United Colors of Benetton, 1992Photograph of David Kirby and family by Therese Frare, 1990
Felix Gonzalez-Torres, Untitled (Portrait of Ross in L.A.), 1991
Covering the walls, are photographs. The wedding photograph. Underneath are the family pictures, some formal and others more casual … Everywhere I turn, even in the failure of memory, reminds me of how the family home puts objects on display that measure sociality in terms of the heterosexual gift. saraahmed
