Discovering gender identities in visual art after 1969
Chang Sun 002234586 ARTH701-OL Contemporary Art Professor Judith Ott Allen Summer 2019
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With the uprising activities of the LGBTQ community and feminists, the boundaries of gender have blurred, and the gendered identities keep expanding. After 1969 Stonewall riots, exploring and unveiling complex identities (such as a resister, a rebellion, a perplexed, a mixed, an ailing, a commensal, an empowered) became prevalent in art expression, particularly through visual artists' arduous efforts. Possibly, the binary gender-based identity is diminishing and gradually replaced by a more inclusive and all-encompassing concept after queer artists' and feminism artists' practices over the years.
This research paper will be unfolded by three arguments, the identity of anti-oppression, the fluid gender identity, and the communality and empowerment. Representing a historically oppressed group, rebellious LGBTQ artists resist inequality and break stereotypes through daring imagery and transgressive portraiture. Meanwhile, the concurrent third-wave feminism practices shed lights on gender identities discussion, in which female artists’ practices suggested the fluidity and the perplexity within the discourse. Finally, featured with the identity of empowerment, visual artworks became a non-gendered language to voice for marginalized LGBTQ community, particularly after the AIDs and HIV crisis in the 1980s.
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Introduction
This June witnessed a series of retrospective and researching exhibitions featured with gender equality and LGBTQ liberation in New York City after 50 years of the Stonewall uprising. Social contexts, the rise of the third wave of feminism, and the evolution of LGBTQ movements among the past six decades provided soil for queer subcultures, where many artists and artworks played significant roles around the 1970s. This paper will focus on the gender identities discovered by visual artists and artworks, some of which are selected from exhibition assortments and relevant materials to unveil essential qualities depicted by visual art and queer subcultures.
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Identity of Anti-oppression
As art and society gradually moved to postmodernism after the 1960s, disruption and breakdown of traditions happened more frequently. A breadth of LGBTQ artists, as a group of "abnormal and unusual," embraced this trend. They came out, got exposed to the public, and questioned the majorities with their avant-garde practices. Their uncanny visions and bold concepts were embedded in their artworks, which become common after the Stonewall uprising. Same as the movement, activist LGBTQ artists radically rejected the historically appreciated modern aesthetics and rules, while they thrived on freeing themselves with the help of art.
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Erotic sexual outlaw: Robert Mapplethorpe
Many LGBTQ artists’ works are highly personal, based on their life experiences. This is the same for Robert Mapplethorpe, a suburban New Yorker, mixed media artist, and icon in the LGBTQ community1. The 1970s witnessed gay liberation going national, alongside other contemporary art politics, such as anti-racist, anti-imperialist, anti-war, and feminist movements. At the same time, Robert embarked on his Polaroid period in the Chelsea Hotel in Manhattan, a gathering place for the most non-traditional artists,
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“Biography”, The Robert Mapplethorpe Foundation, accessed 2nd Jul 2019, http://www.mapplethorpe.org/biography/
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writers, and musicians, after graduating from Pratt Institute2. His 1973 solo exhibition showed a plethora of his homosexual pornographic works, featured with the New York S&M scene, which was later collected as the well-known limited publication, X portfolio. Unfolded with Mapplethorpe's most homoerotic photographs, portraits, and sculptures3, X portfolio is full of sexuality, eroticism, and power documented by sadomasochistic imagery (Fig 1.).
Fig 1. Robert Mapplethorpe, Self-Portrait, NYC from the X-portfolio (1978), Selenium-toned silver gelatin print, image: 14 x 14 inches (35.6 x 35.6 cm), Collection of the Leslie-Lehman Museum, Foundation purchase
⚫ Homoerotic Rebellion The mainstream criticized his works as “politically incorrect” negative images that were excessively concerned with homosexual morbidity, violence, and brutality4. Such comments are not uncommon; however, such a “moral decay” challenge the aesthetic domination in stereotyped heterosexual ideals. From a more sociological viewpoint, Mapplethorpe had an outstanding ability to decode power and submission through his portrayal of sexual excitement and intimate communications in his most homoerotic photographs, portraits, and sculptures. Ben Lifson, a writer for the Village Voice, once even criticized that "their haughty gazes, their overblown sensuality, their self-satisfied perversion warn us
Ibid. Exhibition. Implicit Tensions: Mapplethorpe Now, Solomon R. Guggenheim Museum, New York, 2019. 4 Allen Ellenzweig, The homoerotic photograph: male images from Durieu/Delacroix to Mapplethorpe (New York: Columbia University Press, 1992), 281-293 2 3
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(middle-class white man) can't belong.5” Ultimately, Mapplethorpe’s sexual outlaw became a politicalized issue, which is one of the power. In fact, the word Homoerotic had not entered the American public discourse until Robert Mapplethorpe's retrospective photography exhibition in 1989, when some commentators believed that he went too far on homoerotic appeals6. Nevertheless, as Leslie-Lohman Museum’s exhibition “Art After Stonewall” wrote up, “Criminalization of queer intimacy was turned on its head as artists claimed sexual criminality as a badge of honor7” Those sadomasochistic scenes, erotic nudes, and sexualized images are no more than depleting the power of eroticism to interrelate human beings at all levels – physically, socially, and spiritually8.
⚫ Redefinition of female beauty However, after the 1980s, instead of continuously documenting New York undergrounds S&M scenes, Mapplethorpe embraced the non-binary body aesthetics and blurred sexual identities. He started portraying the nude without predefined sexual identities. The Lisa Lyon and the Lisa Lyon with cloth covering face NYC exemplified this new genre (Fig 2., Fig 3.). As the first World Women's Bodybuilding Champion in 1980, Lisa Lyon was one of the few women Mapplethorpe photographed on multiple occasions9. Combined with masculine and feminine characters, Lisa was considered a “redefinition of female beauty” to Mapplethorpe 10.
Ellenzweig, The homoerotic photograph: male images from Durieu/Delacroix to Mapplethorpe, 390-334 Ibid. 7 Exhibition. Art After Stonewall 1969-1989, Leslie-Lohan Museum, New York. 8 Ellenzweig, The homoerotic photograph: male images from Durieu/Delacroix to Mapplethorpe (New York: Columbia University Press, 1992), 431 9 “Robert Mapplethorpe”, Solomon R. Guggenheim Museum, accessed Jun 25, 2019. https://www.guggenheim.org/artwork/artist/robert-mapplethorpe 10 Exhibition, Solomon R. Guggenheim Museum 5 6
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Fig 2 (Left). Robert Mapplethorpe, Lisa Lyon (1982), Gelatin silver print, image: 23 3/8 x 19 3/4 inches (59.4 x 50.2 cm), Solomon R. Guggenheim Museum, New York Fig 3 (Right). Robert Mapplethorpe, Lisa Lyon with cloth covering face, NYC. (1980-1982), Gelatin silver print, image: 23 3/8 x 19 3/4 inches (59.4 x 50.2 cm), Solomon R. Guggenheim Museum, New York
Unlike previous work straightforwardly eliciting sensual feeling by erotic arousal, portraying Lisa Lyon provided a new vision from a de-sexualized perspective. It paid extra attention to the body itself, which is commonly known as “vision of art animal body.” It seems that Mapplethorpe slightly deviates from the activist presentation but into a sophisticated manner that stimulates an emotional empathy. The pose, the model, and the fabric disguise stand her out with non-predefined identity, asserting questions of binary sexism and heterosexual stereotype. From this work and his portraiture after the 1980s, audiences can see that his consistency originated from an erotic aesthetic in his early works. The camera angle, lighting, and lens tell stories of identity through the human body’s interpretation, departing from the perfect expectation of the human body to mingle feminity with masculinity. His unexpected visions not only gave more possibilities to visual arts, but bring awareness to gender liberation in post-stonewall age. -
Portrait of “Normal”: Catherine Opie
Together with Robert Mapplethorpe, Catherine Opie was one of the visual artists shooting the sadomasochistic culture and scene in her early years. Her consistent documentation of the LGBTQ community never fails to surprise the public with strong visual intense and emotional appeal. Since the 1980s, self-portrait gradually became the main approach for her to conceptualize identities. Her early works were filled with radical and outrageous emotions, as indicated in Raven (gun) (1987), Self-
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Portrait/Cutting (1993), and Self-Portrait/Pervert (1994) (Fig4., Fig5., Fig6.). The young Catherine was fearless, outrageous, and radical. She desired to acclaim her power against sexual objectification and “sex as a commodity”11.
Fig 4(Left). Catherine Opie, Raven (gun) (1987), Inkjet print, Courtesy the artist and Regen Projects, Los Angeles Fig 5(Middle). Catherine Opie, Self-Portrait/Cutting (1993), Chromogenic print, 40 inches x 29 7/16 inches (101.6 x 74.8 cm), Solomon R. Guggenheim Museum, New York Purchased with funds contributed by the Collections Council, with additional funds from Mr. and Mrs. Aaron M. Tighe and the Robert Mapplethorpe Foundation, 2012 Fig 6 (Right). Catherine Opie, Self-Portrait/Pervert (1994), Chromogenic print, 40 inches x 29 7/8 inches (101.6 x 75.9 cm), Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by the Photography Committee, 2003
It was not uncommon that LGBTQ artists’ creations always elicited massive public attention and aroused wide discussions at that period due to their courage, fearless, and eye-catching characteristics 12. Catherine’s storytelling approach highly engaged her self-image as the main subject and the body as the battleground. The scar, the masks, and even the sitting positions are calm and silent, but powerful enough to stimulate people to know more about her. However, although erotic imageries are essential to Catherine’s early practice, her cynical works challenged the sexism and biased society with a more subtle and sentimental touch 13. Catherine returned to her self-portrait series ten years later in 2004, Self-Portrait/Nursing (2004) (Fig 7.). From these works, “Catherine Opie Self-Portrait/Pervert”, Solomon R. Guggenheim Museum, accessed Jun 25, 2019, https://www.guggenheim.org/artwork/12201 12 Vince Aletti and Chris Boot, Sophie Hackett, and Lyle Ashton Harris, “Queer Photography, from Stonewall to AIDS”, filmed September 15, 2016 at The Museum of Modern Art, NY, video, 1:46:47, https://www.moma.org/calendar/events/2354 13 Exhibition. Art After Stonewall 1969-1989, Leslie-Lohan Museum 11
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despite time changes, the subtle sensitivity and bold imagery remain constant in her arts. The nude upper body appears again, telling the true story of a lesbian, from herself to her role in the kinship system, and the concept of motherhood. This work is powerful, as it delivers a mixed feeling to the viewers. When a new life becomes a part of the subject, every audience is engaged, and thus, everyone can empathize with the feeling Catherine embedded in the shot. People see themselves through communal, sexual, and cultural perspectives14. As Leslie - Lohman Museum’s Archive puts it: “(For these queer artist,) life and art merge, and the pose of outlaw takes on a whole new set of meanings when artists approach their subjects as insiders15.” It is the nature of an insider that made the LGBTQ artists’ works so powerful. They represent a community, interrogating the dominant and the superior, protecting their community, and making impacts as much as possible.
Fig 7 (Right). Catherine Opie, Self-Portrait/Nursing (2004), Chromogenic print, 40 x 31 inches (101.6 x 78.7 cm), Solomon R. Guggenheim Museum, New York Purchased with funds contributed by the International Director's Council and Executive Committee Members: Ruth Baum, Edythe Broad, Elaine Terner Cooper, Dimitris Daskalopoulos, Harry David, Gail May Engelberg, Shirley Fiterman, Nicki Harris, Dakis Joannou, Rachel Lehmann, Linda Macklowe, Peter Norton, Tonino Perna, Elizabeth Richebourg Rea, Mortimer D.A. Sackler, Simonetta Seragnoli, David Teiger, Ginny Williams, and Elliot K. Wolk, and Sustaining Members: Tiqui Atencio, Linda Fischbach, Beatrice Habermann, and Cargill and Donna MacMillan, 2005
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Fluid Gender Identity
LGBTQ movements after the Stonewall Uprising coincided with the transition from second-wave to
Anne Fausto-Sterling, Sexing the body: gender politics and the construction of sexuality, 1st ed, (New York, NY: Basic Books, 2000), 89 15 Exhibition. Art After Stonewall 1969-1989, Leslie-Lohan Museum 14
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third-wave feminism, followed by a co-development. A representative theory in third-wave feminism is Gender Fluidity. Born from feminist writer Kate Bornstein's essay, the definition of fluid gender is described as follows: “Gender fluidity is the ability to freely and knowingly become one or many of a limitless number of genders, for any length of time, at any rate of change. Gender fluidity recognizes no borders or rules of gender.” — Kate Bornstein, Gender Outlaw: On Men, Women and the Rest of Us, 199416”
The fluid gender embraced all-gender liberation and took the position of non-predefined, non-binary, and sexually unbounded identities 17. This shift is particularly observable in the lesbian community. After the 1970s, lesbian politics displayed more affinity to the women's liberation movement despite an initially hostile reception 18. Female artists and feminist philosophy inspire more diversified gender identities. It provided a feminine vision to consider gender identity. As a postmodern product, after the 1980s, thirdwave feminism champions an inclusive and nonjudgemental vision, refusing the binary categories and sexual stereotypes 19.
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Communality and Empowerment
Community is often associated with the discourse of LGBTQ, particularly after the AIDS epidemic in the 1980s. However, before that, “coming out” used to refer to attending communal LGBTQ life discreetly, rather than announcing homosexuality to straights as we are familiar with today20.
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Supportive program and artists’ partnership
Despite tacit despise within the LGBTQ group, they became more than united since the spate of HIV. Art
Kate Bornstein, Gender Outlaw: On Men, Women, and the Rest of Us (New York: Psychology Press, 1994), 153 Jane M Ussher, Fantasies of femininity: reframing the boundaries of sex (New Brunswick, N.J.: Rutgers University Press, 1997.) 157-189. 18 Snyder, “What Is Third‐Wave Feminism?”, 175-196 19 Claire R. Snyder, “What Is Third‐Wave Feminism? A New Directions Essay”, The University of Chicago Press Journals, Vol. 34, No. 1 (Autumn 2008): 175-196 20 Exhibition. Art After Stonewall 1969-1989, Leslie-Lohan Museum 16
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and activism focused on a concrete goal: advancing medical knowledge in the face of intransigent homophobia21. On the other hand, protecting art and cultural achievement within the LGBTQ community burgeoned. For example, Charles Leslie and Fritz Lohman thrived on rescuing works from dying artists from families who wanted to destroy the art out of shame or ignorance. Leslie and Lohman focused on the documentation of LGBTQ history, encouraging the community through various visual art provocations and theatrical performances; this later led to the creation of the well-known Leslie-Lohman Museum. It is the only dedicated art museum in the world that exhibits and preserves artwork that speaks about the LGBTQ experience. The current exhibition, Art After Stonewall, commemorates the 40th anniversary of the Stonewall uprising. The exhibition includes many of the abovementioned works22. Its narrative is based on the LGBTQ historical landscape and extensively discusses identity, gender education, sexuality, and individuality 23. Another supportive practice was initiated by the LGBT Community Center, which supported art residence projects and maintained archives over the years. The halls, stairways, and walls are adorned with unique pieces throughout the center. There are featured commissions from Keith Haring, Martin Wong, Barbara Sandler, and others; many of these works were created for the 1989 Center Show, an exhibition for the 20th anniversary of the Stonewall rebellion24. Keith Haring, an icon of pop art and queer art, was invited to contribute his 1989 mural painting “Once Upon a Time” (Fig 8.). It was encouraging to see his bold and sharp lines building up the cartoon-liked sexual patterns and homosexual metaphor in such a large scale. The totemic shapes were well blended with the white wall, square bricks, and bare water tube in a primitive setting. In fact, 1989 was a very unusual year for Keith as he was diagnosed with AIDs25. This work is full of urgent intentions for gender
Vince Aletti and Chris Boot, Sophie Hackett, and Lyle Ashton Harris, “Queer Photography, from Stonewall to AIDS” 22 Exhibition. Art After Stonewall 1969-1989, Leslie-Lohan Museum 23 Ibid. 24 “Art and Advocacy”, The Center, accessed Aug 1, 2019, https://gaycenter.org/arts-culture/collection/ 25 “About Haring, Archive”, The Keith Haring Foundation, Accessed Aug 1, 2019, http://www.haring.com/!/about21
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liberation and recognition for homo-love, representing the key concept in his practice. It is much awry while not come with a suppressive depression. Since then, his projects became highly focused on the empowerment of the LGBTQ community and encouraging them to "come out" for equal rights26. He returned to a black and white presentation and processed it publicly as his initial open work in the New York underground.
Fig 8. Keith Haring, Once upon a time (1989), Mural Painting, LGBT Community Center, New York
For Keith himself, the gay identity was declared during his School of Visual Arts period when he witnessed and participated in the Stonewall Uprise. He arrived in New York in 1978 and began to experience a multicultural urban community with well-diversified expressions. Despite resistance from the New York University located around the circumscribe of SVA, the East Village vibe and vibrant experimental vibe helped him a lot in delving into his gay identity with a peer group, as energetic and uninhibited as Keith is himself27. Just as he never hid behind his gay identity, Keith chose to confront his illness directly and even made a public acknowledgment. Since then, his projects became highly focused on the empowerment of the LGBTQ community and encouraging them to "coming out" for equal rights 28, including the “National Coming Out Day” (Fig 9.). As an "artists' response" to call for LGBTQ people being brave to publicly
haring/transitions#.XU658JMzbjA 26 Exhibition. Stonewall 50 at New-York Historical Society, New-York Historical Society, New York. 27 The Keith Haring Foundation, “About Haring, Archive” 28 Exhibition. Art After Stonewall 1969-1989, Leslie-Lohan Museum, New York.
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declare their identity, the work was so encouraging with vibrant, almost happy line and colors while tough and challenging. As he confessed, “The subway drawings were, as much as they were drawings, performances. It was where I learned how to draw in public. You draw in front of people. For me it was a whole sort of philosophical and sociological experiments…There were always confrontations, whether it was with people that were interested in looking at it, or people that wanted to tell you you shouldn’t be drawing there…29”.
Such a confrontation made his works a permanent nirvana. Instead of hiding himself from his real identity, he chose the harshest way to salvage his personality, his nature, and his reality. Tension and antagonistic judgment from the majority had deteriorated at that time, while Keith’s clean, strong lines and pop figures empowered a generation to win the inner battle against themselves30.
Fig 9. Keith Haring, National Coming Out Day (1988), Offset lithograph, Collection of The Keith Haring Foundation, New York
Thus, Keith Haring became a supportive icon through his pop art and language: He set up The Keith Haring Foundation to help fund education, prevention, and care for AIDS and HIV infection after his diagnosis31. Haring enlisted his imagery near the end of his life to speak about illness and generate activism and awareness about AIDS. If we recall Frida Kahlo, “art is therapy,” and every endeavor is to encourage tolerance and inclusivity through art.
The Keith Haring Foundation, “About Haring, Archive” Ibid 31 Idid 29 30
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Summary and Conclusions Artists’ practices discover and interpret perplexing gender identities with visualized language. In the process of visualization, avant-garde concepts and art project-making salvage identities and subcultures. It holds together the community and destigmatizes binary gendered stereotypes. Portraiture plays a critical role throughout the artists’ approach discussed in this paper. A representation of themselves, of the subjects, and the community contributed to artists’ endeavors in uncovering the identity myth and embracing gender equality, be it in an illustration, photography, or painting. Nowadays, with broad recognition of the LGBTQ community and queer subcultures, people pay more attention to the individuals. An ideology shift and changing mindsets are making irreplaceable contributions for gender liberation.
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List of Figures Fig 1. Robert Mapplethorpe, Self-Portrait, NYC from the X-portfolio (1978), Selenium-toned silver gelatin print, image: 14 x 14 inches (35.6 x 35.6 cm), Collection of the Leslie-Lehman Museum, Foundation purchase Fig 2. Robert Mapplethorpe, Lisa Lyon (1982), Gelatin silver print, image: 23 3/8 x 19 3/4 inches (59.4 x 50.2 cm), Solomon R. Guggenheim Museum, New York Fig 3. Robert Mapplethorpe, Lisa Lyon with cloth covering face, NYC. (1980-1982), Gelatin silver print, image: 23 3/8 x 19 3/4 inches (59.4 x 50.2 cm), Solomon R. Guggenheim Museum, New York Fig 4. Catherine Opie, Raven (gun) (1987), Inkjet print, Courtesy the artist and Regen Projects, Los Angeles Fig 5. Catherine Opie, Self-Portrait/Cutting (1993), Chromogenic print, 40 inches x 29 7/16 inches (101.6 x 74.8 cm), Solomon R. Guggenheim Museum, New York Purchased with funds contributed by the Collections Council, with additional funds from Mr. and Mrs. Aaron M. Tighe and the Robert Mapplethorpe Foundation, 2012 Fig 6. Catherine Opie, Self-Portrait/Pervert (1994), Chromogenic print, 40 inches x 29 7/8 inches (101.6 x 75.9 cm), Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by the Photography Committee, 2003 Fig 7. Catherine Opie, Self-Portrait/Nursing (2004), Chromogenic print, 40 x 31 inches (101.6 x 78.7 cm), Solomon R. Guggenheim Museum, New York Purchased with funds contributed by the International Director's Council and Executive Committee Members: Ruth Baum, Edythe Broad, Elaine Terner Cooper, Dimitris Daskalopoulos, Harry David, Gail May Engelberg, Shirley Fiterman, Nicki Harris, Dakis Joannou, Rachel Lehmann, Linda Macklowe, Peter Norton, Tonino Perna, Elizabeth Richebourg Rea, Mortimer D.A. Sackler, Simonetta Seragnoli, David Teiger, Ginny Williams, and Elliot K. Wolk, and Sustaining Members: Tiqui Atencio, Linda Fischbach, Beatrice Habermann, and Cargill and Donna MacMillan, 2005 Fig 8. Keith Haring, Once upon a time (1989), Mural Painting, LGBT Community Center, New York Fig 9. Keith Haring, National Coming Out Day (1988), Offset lithograph, Collection of The Keith Haring Foundation, New York
Exhibitions Leslie-Lohan Museum and the Grey Art Gallery of New York University, Art After Stonewall, 19691989, New York. New-York Historical Society, Stonewall 50 at New-York Historical Society, New York. Solomon R. Guggenheim Museum, Implicit Tensions: Mapplethorpe Now, New York
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The Robert Mapplethorpe Foundation, Biography, accessed 2nd Jul 2019, http://www.mapplethorpe.org/biography/ Ussher, Jane M, Fantasies of femininity: reframing the boundaries of sex, New Brunswick, N.J.: Rutgers University Press, 1997.