1 / 60

Molly Landreth , Ronni and Jo, Seattle, WA , 2005

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.

donal
Download Presentation

Molly Landreth , Ronni and Jo, Seattle, WA , 2005

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript


  1. Molly Landreth, Ronni and Jo, Seattle, WA, 2005

  2. Barnett Newman, Onement I, 1948

  3. Jackson Pollock, Number 1, 1950 (Lavender Mist), 1950

  4. Hans Namuth photographs of Jackson Pollock, 1950

  5. Hans Namuth, Willem and Elaine de Kooning, 1953

  6. Jackson Pollock and Lee Krasner

  7. John Cage and Merce CunninghamCage, Cunningham, and Robert Rauschenberg

  8. Andy Warhol

  9. Gran Fury, Read My Lips (Boys), 1988Gran Fury, The Government has Blood on Its Hands, 1988

  10. Felix Gonzalez-Torres, 1957-1996

  11. Witnesses: Against Our Vanishing, November 16 – January 6, 1990, Protest outside Artists Space

  12. 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

  13. Robert Mapplethorpe, The Perfect Moment, The Institute of Contemporary Art, Philadelphia, December 9 – January 29, 1989

  14. Robert Mapplethorpe, Joe, 1978Ken Moody and Robert Sherman, 1984

  15. Cover of ARTFORUM, September 1989Robert Mapplethorpe, Rosie, 1976

  16. The NEA Four (and Martha Wilson): Holly Hughes, Tim Miller, John Fleck, Karen Finley, 2004

  17. Hide/Seek: Difference and Desire in American Portraiture, National Portrait Gallery, Smithsonian, Washington, DC, October 30 – February 13, 2011

  18. David Wojnarowicz, A Fire in My Belly(film in progress), 1986-87 (still)

  19. Protests against the Smithsonian’s removal of Wojnarowicz’sA Fire in My Belly from Hide/Seek: Difference and Desire in American Portraiture

  20. 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

  21. Jamie Q, What Makes an Object Queer?, 2011

  22. 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

  23. 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

  24. THE BRADY BUNCH!

  25. From Awkward Family Photos website(with apologies if these are your family photos)

  26. From Awkward Family Photos website(again, sincere apologies, if these are your photos)

  27. Still from The Rocky Horror Picture Show, 1975Frank, Brad, and Janet

  28. United Colors of Benetton, 1992Photograph of David Kirby and family by Therese Frare, 1990

  29. Felix Gonzalez-Torres, Untitled (Perfect Lovers), 1991

  30. Felix Gonzalez-Torres, Untitled (Portrait of Ross in L.A.), 1991

  31. Felix Gonzalez-Torres, Untitled (Bed), 1991

  32. Molly Landreth, Ronni and Jo, Seattle, WA, 2005

  33. 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

  34. Jim Verburg, Family Album Number One, 2009

  35. Jim Verburg, For a Relationship, 2007

More Related