‘Queer’ ‘British’ ‘Art’? – Theory and practice since 1970
Theo Gordon, The Courtauld Institute of Art
How can the history of art and fine art practice in Britain trouble our understanding of the development of queer theory? The significance of disciplines such as literature, philosophy or sociology to the place of ‘queer’ in the academy appear unequivocal; that of art and art history, less so. Similarly, the contributions of cultural producers in France and the US appear foundational to ‘queer theory’, whilst that of those in Britain seem under-articulated.
This session features papers exploring the synergies, overlaps and influences between art produced in Britain and the emergence of queer theory since 1970, with attention to the sociocultural circumstances of ‘queer’ artistic production in Britain, the porosity and particularity of national boundaries, and the transnational movement of artists, writers and theories. Not content with any hegemonic or hermetic national narrative, this session asks how to trouble the historiography of queer theory by practising a history of detail that attends to the circumstances of how art and artists in Britain have contributed to a transnational discourse of queer art and culture.
Ecstatic Antibodies: Resisting the AIDS mythology
Theo Gordon (The Courtauld Institute of Art)
Sunil Gupta’s Queer Family Photography
Greg Salter (University of Birmingham)
‘Defined by Her Absence’: Yve Lomax and the queer dissolution of seeing
Kimberly Lamm (Duke University)