Robert
Ransick & Blake Goble
Gertrude
Stein & Jean Genet (from “Queer Home: The Walls Speak”)
Gelatin silver print
Gelatin silver print
1994
Anonymous
Gift
What it means to be queer has become a frequent discussion not only among my students but also among my peers who had long ago embraced LGBT identities. Reclaiming the term “queer” from the realm of pejoratives, which had once signified the right to and pride in living lives unfettered from heteronormativity, suddenly held new possibilities, particularly in the context of a tide driving LGBT people into normalcy. While no one regretted the demise of Don’t Ask Don’t Tell or the Defense of Marriage Act, the prospect of a new normativity raised issues about the desirability of that status.
In a Spring 2013 course I taught at Parsons called “Homonormativity and the American Ideal,” art historian and artist Catherine Lord visited my class, to speak about “To Whom It May Concern…”a site-specific installation she had created at the One Archives in Los Angeles. That project focused on dedication pages in the books the archive had collected. She talked about the color of the pages, the typeface, the bleeding print, the telegraphing of indecipherable massages that conveyed biography, politics, intentions, passions, fears, and other qualities. She talked about the power and “queerness” of those pieces of paper. Often those pages were not only different in design and content from the rest of the book, they possessed an autonomy that often inflected readings of the texts that followed. It was about that time that I began thinking about grounding future queer as a project would de-stabilize the ways in which we see our environment, and foreground approaches that demand, in some cases, attention to the details of the worlds they critique and the visions they present; in others an openness to the spirits they embody.
The works on view in grounding future queer represent a mining of The New School Art Collection for works by artists whose work and lived experience present options to heterosexual norms. From more than a two thousand works in The New School Art Collection, spanning a period of 85 years, these works were made by an international group of practitioners between the period 1929 to 2012 who have experienced changing political circumstances and cultural responses to issues pertaining to sexuality and gender.
The works run the gamut from the 1929 allegorical work of Russian émigré Pavel Tchelitchew to the 2012 work of Aziz & Cucher responding to the complexities of their responses to turmoil in the Middle East, from the minimalist image of a poem about a young man’s abuse by John Giorno to works by Frank Moore, David Wojnarowicz and Ross Bleckner that are direct responses to the devastation of the AIDS epidemic, from the work of Joan Snyder who calls out the names of Biblical women to a photograph by Catherine Opie recording performance artist Ron Athey creating scarification on the back of Divinity Fudge (a.k.a. Darryl Carlton.) Together, they lay bare the contradictions and ambiguities of defining queer experience while simultaneously peeling away the assumptions that underlie our world.
Tony Whitfield, Curator of grounding future queer
This blog has been created to provide an ongoing context for discussion of the individual works in grounding future queer as well as other related works in The New School Art Collection. Please contribute any thoughts you have about the ways in which these works inform our understanding of queer culture as well as any information you might have about these works.
This work was created as part of “Passages from Queer Places,” an installation which commemorated the 25th anniversary of the Stonewall riots. The installation overlapped queer present and past, exploring how personal queerness draws from interactions with queer histories which traverse time and space to emerge in a personal landscape. The installation consisted of a constructed space evoking two bedrooms belonging to a boy and a girl, into which the queer past intersected through what Ransick describes as a “queer closet/passageway.” This maze-like space manifested the maze of queer time – how figures from our past shape our queerness and are themselves uncovered through that interaction; how we wake up in a familiar space to discover we are not its only occupants. A sound piece played as part of a 2005 revival of the installation included a recording of Gertrude Stein reading from The Making of Americans, in which she says,
ReplyDelete“Slowly every one in continuous repeating, to their minutest variation, comes to be clearer to some one. Every one who ever was or is or will be living sometimes will be clearly realized by some one.”
Figures from a queer past such as Stein and Genet are ghostly in photonegative, transposed against filmstrips of contemporary queer people. These figures look out through an overlay of the past, and the past becomes clear to us only through its intersection with our self-realization. Viewing this work twenty years later, it is less a conjunction of past and present as it is the encounter of two pasts with our gaze from the future. “Passages from Queer Places” was originally displayed as part of the Queer Space exhibition at the Storefront for Art and Architecture, which investigated the relationships of marginalized people to space in the city – both physical space and the codes which confine a conceptual space for us to live within. Within Grounding Future Queer, this work is moved with many others from the margins of the New School’s art collection into a space where it can be contextualized and located in the space/time maze of queer experience.
Sorcha Fatooh