Round Table: Queer Lifestyles, Politics and Curating Now

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Notes

^1. Michael Hatt, ‘Space, Surface, Self: Homosexuality and the Aesthetic Interior’, Visual Culture in Britain, 8 no. 1, (Summer 2007): 105–128.

^2. Edward Carpenter, ‘Beethoven and His Piano Sonatas’, In Angels’ Wings: A Series of Essays on Art and Its Relation to Life, London: Swan Sonnenshein & Co., 1898, 159–161.

^3. Michel Foucault, L’usage des plaisirs, Paris: Gallimard, 1984; Michel Foucault, Le souci de soi, Paris: Gallimard, 1984.

^4. Michel Foucault, ‘The Ethics of the Concern for Self as a Practice of Freedom’, In edited by Sylvère Lotringer, Foucault Live (Interviews, 19611984), New York: Semiotext(e), 1996, 432–3, 440–1.

^5. Joseph Bristow, ‘Remapping the Sites of Modern Gay History: Legal Reform, Medico-Legal Thought, Homosexual Scandal, Erotic Geography,’ Journal of British Studies, 46, (Jan. 2007): 116–142.

^6. Bristow, ‘Remapping the Sites of Modern Gay History’, 142.

^7. Jonathan Weinberg, ‘Things Are Queer’, Art Journal, 55 no. 4., (Winter 1996): 12.

^1. Peter Burger, The Theory of the Avant Garde, Minneapolis: University of Minnesota Press, 1979.

^2. Michel Foucault, ‘A Preface to Transgression’, In Language, Counter Memory, Practice, edited by D Bouchard, 1979.

^3. Hermione Eyre, ‘Back on Track’, Vogue, UK, September 2016 (strap line on the front cover, ‘Love, Fame and Life in the Fastest Lane’).

^1. For a summary of the controversy see, for example: Elizabeth Blair, ‘Smithsonian Under Fire For Gay Portraiture Exhibit’, NPR, December 1, 2010, http://www.npr.org/2010/12/01/131730255/smithsonian-under-fire-for-gay-portraiture-exhibit (accessed August 29, 2016). For the Smithsonian’s public response, see: http://newsdesk.si.edu/releases/smithsonian-qa-regarding-hideseek-exhibition (accessed August 29, 2016).

^2. James Delingpole, ‘Preserve us from a National Trust that’s so Achingly Right-on: James Delingpole on a Once Great Institution’s Plans to Promote the Gay and Transgender Links of our Finest Houses’, Daily Mail, December 22, 2016 (accessed January 15, 2017). For the controversy over LGBT history month, see Robert Mills, “Theorising the Queer Museum”, 41–52, Museums and Social Issues: A Journal of Reflective Discourse, 3, No. 1 (Spring 2008): 47.

^3. ‘Queer British Art Show Leads Tate 2017 Programme’, The Guardian¸ April 19, 2016

^4. Eve Kosofsky Sedgwick, Tendencies, Durham: Duke University Press, 1993. 8.

^5. Laura Doan, Disturbing Practices: History, Sexuality, and Women’s Experience of War, Chicago and London: University of Chicago Press, 2013, 2.

^6. Robert Mills, ‘Theorising the Queer Museum’, 48.

^7. See, for example, ‘Queering the Museum’ led by artist and curator Matt Smith (Birmingham Museum and Art Gallery, 2010). For discussion of this project and its aims, see: http://mattjsmith.com/wp-content/uploads/2014/12/Journal_035-61.pdf (accessed January 14, 2017) and Richard Moss, ‘In Pictures: Matt Smith casts queer eye over Birmingham Museum and Art Gallery collection’, Culture 24, November 5, 2010, http://www.culture24.org.uk/art/art312321 (accessed January 14, 2017).

^8. For the complexities of this identity, see for example: Jill R. Ehnen’n “‘Our Brains Struck Fire Each from Each’: Disidentification, Difference, and Desire in the Collaborative Aesthetics of Michael Field” In Economies of Desire at the Victorian Fin de Siècle: Libidinal Lives, edited by Jane Ford, Kim Edwards Keates, and Patricia Pulham, New York and London: Routledge, 2015, 180–203; Sarah Parker, The Lesbian Muse and Poetic Identity, 1889–1930, London and New York: Routledge, 2016, first published 2013, 43–70; Martha Vicinus, ‘“Sister Souls”: Bernard Berenson and Michael Field (Katherine Bradley and Edith Cooper)’, Nineteenth-Century Literature, 60, No. 3 (December 2005), 326–54.

^9. See Simon Faulkner, ‘Homoexoticism: John Minton in London and Jamaica’, 177–78 In Art and the British Empire, edited by Geoff Quilley and Douglas Fordham, Manchester: Manchester University Press, 2007, 169–86.

^10. Nicola Moorby, ‘Nan (Anna Hope) Hudson 1869–1967’, March 2003, http://www.tate.org.uk/art/research-publications/camden-town-group/nan-anna-hope-hudson-r1105358 (accessed August 29, 2016).

^11. Frederic Leighton did, however, reportedly remark on Crane’s choice, saying ‘But my dear fellow, that is not Aphrodite – that is Alessandro!’, see W. Graham Robertson, Time Was, London: Hamish Hamilton Ltd, 1931, 39. For further discussion, see also: Alison Smith, The Victorian Nude, Sexuality, Morality and Art, Manchester: Manchester University Press, 1996, 197.

^12. Matt Houlbrook, Queer London, Chicago: University of Chicago Press, 2005, 177; see also Matt Houlbrook, ‘Soldier Heroes and Rent Boys: Homosex, Masculinities and Britishness in the Brigade of Guards, c. 1900–1960’, Journal of British Studies 42, no. 3 (2003): 351–88.

Additional information

Notes on contributors

Reina Lewis

Michael Hatt is Professor of History of Art at the University of Warwick. His most recent publications include Hiram Powers’ Greek Slave: A Transatlantic Object, a special issue of Nineteenth-Century Art Worldwide, co-edited with Martina Droth (2016), and Sculpture Victorious: Art in an Age of Invention, 1837–1910, co-edited with Martina Droth and Jason Edwards (Yale University Press, 2014).

Elizabeth Wilson is a former visiting professor at the London College of Fashion, University of the Arts, London. She is the author of a number of works exploring cultural issues, including Adorned in Dreams: Fashion and Modernity; Bohemians: The Glamorous Outcasts; The Sphinx in the City; Love Game: A History of Tennis. She has also published three crime fiction novels and a fourth, She Died Young, appeared in March 2016. She was a consultant for the exhibition ‘Utopian Bodies: Fashion Looks Forward’ held at the Liljevachs Museum, Stockholm in 2015–16 and is currently working with Amy de la Haye and Martin Pel on an exhibition exploring the life and work of the twentieth century artist, Gluck, to be held at the Brighton Museum in 2017.

Andrew Stephenson

Clare Barlow is curating the exhibition ‘Queer British Art, 1861–1967’, held at Tate Britain from April 5 to October 1, 2017, marking fifty years since the Sexual Offences Act, 1967. She is Assistant Curator British Art, 1750–1830 at Tate Britain, having joined Tate from the National Portrait Gallery, where she was Assistant Curator for the eighteenth and twentieth centuries. She has curated a wide range of displays from ‘The Art of Drawing, 1670–1780’ to ‘Jacob Epstein: Portrait Sculptor’ and has assisted on exhibitions including ‘British Folk Art’ (Tate Britain, 2014) and ‘Brilliant Women: 18th Century Bluestockings’ (National Portrait Gallery, 2008). She has a longstanding research interest in the intersections between art, sexuality and gender and completed her PhD on the visual culture of eighteenth-century female authorship in 2010.