Tuesday, April 28, 2009

Shuaiguy.cn

Poking around, you know.

I discovered a gay Chinese website called Shuaiguy.cn. Random thoughts along the Way:
上有兩仙童, 好食亦好飲。 與我一丸藥, 光輝有物色。

There were two young fairies living up there.
They *loved* eating; drinking, more.
They gave me a pill of elixir,
it glowed with all five colors.
(Apologies to Cao Pi)
Skin like ivory under water, deliciously desirable
「鮮膚一何潤,秀色若可餐。」 -- Lu Ji 陸機

Monday, April 20, 2009

RIP Eve Sedgwick

Eve Kosovsky Sedgwick (May 2, 1950-April 12, 2009)



Professor Eve Sedgwick, an important founder of the academic sub-discipline 'Queer theory,' has died of cancer. She was 58. When she took to the academic stage in the 1970s at Yale University, English and other humanities departments were rarely welcoming to discussions of Feminism, of same-sex desire, of the fluidity of gender, or of homophobia. As an agressive and radical teacher, advocate and scholar, Professor Sedgwick worked tirelessly to change that situation. The fact that universities across America are more open than ever to the study of Feminism and Gay and Lesbian Studies is, in part, the result of the great conversations on identity, desire, and culture that Professor Sedgwick helped begin with essays like "Jane Austen and the Masturbating Girl" and books like Between Men: English Literature and Male Homosocial Desire and Epistemology of the Closet.

Both "Jane Austen and the Masturbating Girl" and Between Men: English Literature and Male Homosocial Desire examine great works of Western literature and find many places where something "queer" is going on. In Jane Austen's Sense and Sensibility, for example, Sedgwick finds coded expressions of repressed female sexuality. In a study of Our Mutual Friend by Charles Dickens, Sedgwick shows how homophobia, heterosexual desire, and homosexual desire can all become entangled among a set of multiple fictional characters. She believed firmly that life was like that -- to her, nobody was completely "straight," and the concepts of heterosexuality and homosexuality were far too simple to describe the way live, love, and hate. Building on Michel Foucault's theories of sexual behavior and the evolution of systems for controlling populations, Sedgwick developed "queer theory" as a set of reading strategies that could show how our sexual desires, our senses of gender, and even our very basic senses of identity are constructed by larger cultural forces.

"It's about trying to understand different kinds of sexual desire and how the culture defines them," she told The New York Times in 1998. In the obituary by Patricia Cohen for the New York Times, Ms. Cohen wisely asks us to

Consider the issue of gay marriage. Some contend that gays are like everyone else (what Ms. Sedgwick called the “universalizing view”) and should be treated that way; others portray them as an oppressed minority (the “minoritizing view”) who deserve protection. At the same time, those who would outlaw gay marriage can argue either that homosexuals are a deviant subgroup (minoritizing) or that the ubiquity of homosexual tendencies (universalizing) endangers the traditional institutions that underlie civilized society.

The persistence of the deadlock between the universalizing and minoritizing views, she wrote, is “the single most powerful feature of the important 20th-century understandings of sexuality, whether hetero or homo, and a determining feature too of all the social relations routed, in this sexualized century, through understandings of sexuality.” Ms. Butler said, “her brilliance was to show how both of these claims are often made at the same time, and that this is actually a productive tension.”

Much of Sedgwick's work, and many of her close readings of literary work, remain controversial. The constructivist view of sexual identity is problematic to many historians of gay and lesbian culture, including Jim Kepner, Louis Crompton, Warren Johansson, and the University's own Jean-Nickolas Tretter. To these scholars and archivists, gays and lesbians throughout history share a common, essential experience of same-sex desire that they are born with, and they also share a common experience of homophobia. Both scholarly perspectives have made great contributions to the study of sexual identity in American universities; surely this is another "productive tension."

Monday, April 13, 2009

Gay Art: Take 1 of 3

Lucie-Smith, Edward. Sexuality in Western Art. New York: Thames and Hudson, 1991.

Mapplethorpe's Muse (see p. 269)

Lucie-Smith does not dwell overly-much on homosexuality in his book, but when he does he makes very short, pithy readings that contain a great deal of sense. I think it is particularly significant that he ends his book by considering gay male art of the 1980s and early 90s, by which time it had ridden both the aesthetic of the "liberal establishment" and "libertarian protests against the repression of sexuality" to great fame, but perhaps only truly found the sublime once again during the AIDS crisis. Generalizing powerfully off gay male art engaged with AIDS, Lucie-Smith concludes the book with the implication the themes of sex and death, and their particular relationship to each other, are what really distinguish "Western attitudes from their counterparts in other cultures."

Takes 2 and 3, Coming up next time:

Cooper, Emmanuel. The sexual perspective : homosexuality and art in the last 100 years in the West. 2nd ed. London ;;New York: Routledge, 1994.

Rubin, David, and Contemporary Arts Center (New Orleans, La.);Leslie-Lohman Gay Art Foundation. The culture of queer : a tribute to J.B. Harter. New Orleans: Contemporary Arts Center, 2005.





Wanted: Queer Art from the Harlem Renaissance

Gay Rebel of the Harlem Renaissance: Selections from the Work of Richard Bruce Nugent



I sure wish we had a copy of this at the Tretter Collection, but unfortunately I have to work without it for now. Check out the preview on Google Books for some great historical photos and most of the preface by Henry Louis Gates.

Ma Liuming 馬六明

Ma Liuming 馬六明

Jean pointed out to me a Chinese artist of some interest for his gender-bending and sexual-themed performance pieces and photo shoots. A lot of it looks too in-your-face somehow to really succeed as art, but some of the images are haunting. I found a representative set of images at a site called ionly.com, which bills itself as an "history of exhibitions" (zhanlan shi 展覽史). What a cool resource that is! In addition to 144 images with complete citation and exhibition information, there are three full-length feature articles in Chinese on Ma Liuming.

Also of interest, perhaps: an English article from Artzine ("a contemporary Chinese art portal") laments that Ma Liuming got chubby, though lucky for him the value of his sexy photos continues to escalate. Hmm...

Saturday, April 4, 2009

Mikel Marton


Someone on Facebook introduced me to this artist. I've been in the mood for some high-brow art porn featuring beautiful men lately; Mikel Marton very much fits the bill.

Update: I found Mikel's blogspot blog first, but there is much more material on his website.