Other new publications on queer art

Aletti, Vince, “Body and soul: taking self-portraiture over the edge,” Village voice, May 9, 2000. On the Pierre Molinier exhibition at Tony Shafrazi Gallery, New York and the Robert Mapplethorpe exhibition at Cheim & Read, New York

Antonitsis, Dimitrios Georges. Family matters. New York: Monique Goldstrom Gallery; Lambertville, N.J.: Riverrun Gallery, 2000. Drag queens at home and/or with Mom and Dad

Baldinger, Scott, “Coming to fruition: architect Françoise Bollack’s jaw-dropping overhaul of New York’s Lesbian and Gay Community Services Center will open this fall,” Out, no. 82 (September 2000) , p. 56

Behrens, Web, “Free radicals: photographer Keri Pickett captures the magical paradoxes of the radical faeries,” New York blade news, June 16, 2000, p. 23. The new book is called Faeries: visions, voices and pretty dresses (Aperture) (see “About books” for more on Faeries)

Berger, Martin A. Man made: Thomas Eakins and the construction of Gilded Age manhood. Berkeley: University of California Press, 2000. 167 p. (Men and masculinity, 6) ISBN 0520222083 (cloth : $50.00) ISBN 0520222091 (pbk. : $19.95)

Betsky, Aaron and Erik Adigard. Architecture must burn. Corte Madera, CA: Gingko Press; London: Thames & Hudson, 2000. Includes discussion of queers and sprawl (section 3.0)

Brenson, Michael. Visionaries and outcasts: the NEA, Congress, and the place of the visual arts in America. New York: New Press, due in 2001

Bull, Chris, “Portraits by a lady: a new exhibition brings Jazz Age painter Romaine Brooks out of the art closet,” The advocate, no. 819, Aug. 29, 2000, p. 61-62

Cameron, Dan, “Pierre et Gilles: welcome to their world,” Empire (published by HX, New York), fall 2000, p. 44-49, 86. Cameron is the curator of the New Museum exhibition

Campbell, Kira M., “Romaine Brooks and the drawing of self,” Athanor, 18 (2000), p. 71-75. Includes b/w reproduction of Brooks’s oil painting “Self-portrait” of 1923 and her b/w drawing “Emprisonée/en prison/caught” of 1930

Clarke, Eric O. Virtuous vice: homoeroticism and the public sphere. Durham: Duke University Press, 2000. ISBN 0-8223-2477-6 (cloth) ISBN 0-8223-2513-6 (pbk. : $17.95)

Cocteau, Jean. Jean Cocteau: erotic drawings. Evergreen; Köln: Taschen [distributor], 1999. ISBN 382286532X

Collard, James, “The agony and the ecstasy of Simeon Solomon,” Out, no. 78 (May 2000), p. 66-71

Corinne, Tee A., “[Review of] Stars in my eyes, Don Bachardy,” Lambda book report, v. 9, no. 2 (Sept. 2000), p. 24

Corinne, Tee A., “Who is looking? What are they seeing?” n.paradoxa, v. 6 (2000), p. 33-39. In a special issue entitled “Desire and the gaze”

Cotter, Holland, “D-L Alvarez [at] Derek Eller Gallery, Chelsea, through May 20,” New York times, May 12, 2000, p. E36

Currier, Jameson, “Village people: Penny Coleman creates a ‘family album’ in Village elders,” New York blade news, Sept. 8, 2000, p. 22 (see “About books” for more on Village elders)

Davis, Whitney, “Founding the closet: sexuality and the creation of art history,” in Art and its histories, edited by Steve Edwards. New Haven: Yale University Press, 1999, p. 178-186. Reprinted from Art documentation, v. 11, no. 4 (winter 1992), p. 171-175

DeCaro, Frank, “Two image doctors pay a house call on America,” New York times, Sept. 17, 2000, Sunday Styles section, p. 1-2. On Pierre & Gilles, in NYC for their show at the New Museum, first stops: F.A.O. Schwarz and the Gaiety Theater

“Desire and the gaze,” n.paradoxa, v. 6 (July 2000). Includes “Who’s looking at who? in lesbian photography” by Tee A. Corinne

Dire AIDS. Milano: Charta, 2000. 128 p., 55 col. & 35 b/w ill. ISBN 88-8158-280-5 (pbk. : $25.00) Selection of works by Keith Haring, Felix Gonzalez-Torres, Nan Goldin, Michelangelo Pistoletto, Wolfgang Tillmans, etc.

Disrupted borders: an intervention in definitions of boundaries. Edited by Sunil Gupta. London: Rivers Oram Press, 1993. ISBN 1-85489-044-1 (cloth) ISBN 1-85489-045-X (pbk. : $22.50)

Dugdale, John. Life’s evening hour. Prose and photographs by John Dugdale; text edited by Shields Remine. New York: August Press; distributed by D.A.P., 2000. ISBN 0967248426

Failing, Patricia, “Getting the big picture: American art history is becoming more cosmopolitan as scholars rethink questions of national identity,” Art news, v. 99, no. 5 (May 2000), p. 192-196. Including the role of homoeroticism and social constructions of masculinity in Thomas Eakins

“Flux generations: conversation, Janet A. Kaplan with Bracken Hendricks, Geoffrey Hendricks, Hannah Higgins, and Alison Knowles,” Art journal, v. 59, no. 2 (summer 2000), p. 6-17

Franklin, Paul B., “Object choice: Marcel Duchamp’s Fountain and the art of queer art history,” Oxford art journal, v. 23, no. 1 (2000), p. 23-50

Gaines, Malik, “The heat’s on Cooling,” The advocate, no. 812 (May 23, 2000), p. 92-93. On Janet Cooling and her exhibition at Mesa College Art Gallery, San Diego and on her inclusion in Harmony Hammond’s Lesbian art in America and in the “Picturing the modern Amazon” show at the New Museum of Contemporary Art, New York

Gaines, Malik, “Through women’s eyes,” The advocate, no. 815 (July 4, 2000), p. 76-77. On Lesbian art in America by Harmony Hammond (see review)

Goldberg, Vicki, “A man-made Arcadia enshrining male beauty,” New York times, Aug. 13, 2000, p. AR30-31. Baron Wilhelm von Gloeden (1856-1931) and the boys of Taormina, on the occasion of an exhibiton at Throckmorton Fine Art, New York

Gomez, Edward M., “An abstractionist maintains the faith in a skeptical era,” New York times, Sept. 17, 2000, p. AR36-37. On Louise Fishman, on the occasion of her exhibition at Cheim and Read, New York (see also “Letter from New York”)

Green, Charles, “Doppelgangers and the third force: the artistic collaborations of Gilbert & George and Marina Abramovic/Ulay,” Art journal, v. 59, no. 2 (summer 2000), p. 36-45

Hammer, Barbara, “History lessons,” n.paradoxa, v. 6 (2000), p. 29-32. In a special issue entitled “Desire and the gaze”

Helterman, Jolyon, “Our Ms. Brooks,” Out, no. 79 (June 2000), p. 40. On the new book about Romaine Brooks by Whitney Chadwick and the retrospective exhibition at the National Museum for Women in the Arts, Washington, D.C.

Israel, Nico, “Catherine Opie: Gorney Bravin + Lee,” Artforum, summer 2000, p. 183. Review of exhibition of “Domestic” (photos from 1995-1998 featuring everyday lesbian-family lives)

“The Sir Elton John photograph collection,” B&W: black & white magazine for collectors of fine photography, issue 9 (Oct. 2000), p. 66-79. Includes gay male and lesbian images and photos by Mapplethorpe, Nan Goldin, Bruce Weber, Herb Ritts, and others

Kimmelman, Michael, “Sisters, for a time, in revolution,” New York times, Sept. 8, 2000, p. E31, E35. On the Guggenheim exhibition “Amazons of the avant-garde”

Kleeblatt, Norman L., “Persistence of memory,” Art in America, v. 88, no. 5 (June 2000), p. 96-103

Klein, Jennie, “Tell all: new lesbian narratives,” New art examiner, 27 (June 2000), p. 18-23. Special issue of the journal on “Language + art” with photos by Danielle Abrams, Jennie Simms, and Kaucylia Brooke

Leddick, David. George Platt Lynes, 1907-1955. Köln, New York: Taschen, 2000. 239 p. ISBN 382286403X

Leddick, David. Naked men too: liberating the male nude, 1950-2000. New York: Universe Publishing, 2000. 144 p. ISBN 0789303965 ($35.00)

Lemon, Brendan, “Frances Benjamin Johnston,” Out, no. 81 (August 2000), p.20, 22. “A brilliantly seductive new biography asks: was one of America’s greatest photographers a lesbian?”

Lord, Catherine, “The anthropologist’s shadow: the closet, the warehouse, the lesbian as artifact,” in Space, site, intervention: situating installation art. Erika Suderburg, editor. Minneapolis: University of Minnesota Press, 2000, p. 297-316

Myles, Eileen, “Shore leave: on the road in Provincetown,” Village voice, Aug. 22, 2000, p. 79. On the offerings in P-town galleries, including photos by Allen Ginsberg (with illus. of 1987 self-portrait)

Noh, David, “Fashion plates: Horst P. Horst’s photos were always in Vogue,” New York blade news, May 26, 2000, p. 20. On the occasion of an exhibition at Wessel + O’Connor Gallery, New York

Noh, David, “Photographic memory: Arthur Tress has captured gay men’s bodies and culture for four decades,” New York blade news, Mar. 24, 2000, p. 23. On the occasion of an exhibition at Sarah Morthland Gallery, New York

Pujol, Ernesto. Hagiography. New York: Galería Ramis Barquet, in collaboration with Linda Kirkland Gallery, 1999. $15 at El Museo del Barrio bookshop, New York

Rush, Michael, “Nayland Blake at Matthew Marks,” Art in America, v. 88 (Sept. 2000), p. 148. Review of bunny video by Blake, who states that the bunny works deal with gay sexuality, racial murders, West African folktales, and other subjects

Rush, Michael, “Performance hops back into the scene,” New York times, July 2, 2000, p. AR31-32. Nayland Blake, Geoffrey Hendricks, et al.

Russell, John, “A telling image no matter the locale,” New York times, June 16, 2000, p. E34. On Sargent exhibition at the Metropolitan Museum, New York

Sargent at Harvard. Edited by Miriam Stewart and Kerry Schauber. Cambridge, Mass.: Harvard University Art Museums, 2000. (Harvard University Art Museums bulletin, v. 7, no. 1, fall/winter 1999/2000)

Smith, Roberta, “As history and artifice mate in a hothouse,” New York times, Sept. 15, 2000, p. E30. On the Pierre et Gilles exhibition at the New Museum, New York, “a must-see for anyone interested in the intertwining histories of post-modern (especially set-up) photography, fashion photography, commercial illustration, the male nude in art and the emergence of a gay sensibility”

Strong, Lester, “Stages of living: New Mexico artist Neoboy explores the meaning of personal heroes and remaining connected to yourself in the face of HIV,” A + u, v. 9, no. 7 (July 2000), p. 36-39

Thomas, Joe A., “Pop art and the forgotten codes of camp,” in Memory & oblivion: proceedings of the XXIXth International Congress of the History of Art (held Amsterdam, 1996; published Kluwer Academic, Boston, 1999), p. 989-995

Trainer, Laureen, “The missing photographs: an examination of Diane Arbus’s images of transvestites and homosexuals from 1957 to 1965,” Athanor, 18 (2000), p. 77-80. No illus.

Turner, Grady T., “A former monk resumes the habit,” Village voice, July 4, 2000, p. 75. On Ernesto Pujol exhibition at El Museo del Barrio, New York

Vadim, “Grappling with homosexuality: professional wrestling, simultaneously homoerotic and homophobic,” Village voice, May 9, 2000, p. 196

Valdez, Sarah, “Body art: the brawn of a new era,” Art in America, v. 88, no. 9 (Sept. 2000), p. 50-51. Includes reproduction of work by Nicole Eisenman who was included in the “Picturing the modern Amazon” exhibition at the New Museum for Contemporary Art, New York, spring 2000

Weinberger, Karlheinz. Karlheinz Weinberger: photos, 1954-1995. Zurich: Andreas Züst; London: Thames & Hudson; Scalo Publishers, 2000. 232 p., 72 col. & 102 b/w ill. ISBN 3-905328-21-6 ($49.95). On the Swiss photographer who published under the name of “Jim” in Der Kreis which also published Herbert List and George Platt Lynes

Yoo, Charles, “Urban renewal: dying towns are being given the breath of life by gays and lesbians looking for bargains and a hometown atmosphere,” The advocate, no. 814 (June 20, 2000), p. 86, 88

(N.B. Photocopies of many of the articles listed here are available from the editors for a month or two after the date of this issue. Send your request for a photocopy, with street mailing address, to Sherman Clarke at the address listed in the editors note.)

And elsewhere on the web ...

Lenore Chinn -- “in-Between-ness” art gallery exhibition at Asian-American Village, AAV Art Gallery http://www.iminorities.com/asian/arts/gallery/yayoigalb0800.html - includes link to Chinn site at http://home.earthlink.net/~chinn/

Asian American Women Artists Association

Simeon Solomon Research Archive
Created by Roberto C. Ferrari
Simeon Solomon (1840-1905) was a Jewish pre-Raphaelite artist, follower of Dante Gabriel Rossetti and Algernon Charles Swinburne. Sir Edward Burne-Jones once declared Solomon “the best of us all.” Solomon was arrested for homosexual behavior in 1873 and thereafter became a social outcast by his peers and society, continuing to produce art but dying financially destitute.

Queer Caucus of the Society for Cinema Studies