LGBTQ+ Reading There’s Something Queer about This Class by Olivia Gude
Research Questions There were 3 basic questions that Gude asked in this article: 1. How can we practice a style of education of LGBT art that is not an alternate propaganda? 2. What are some of the conditions and constraints that govern non-LGBT educators to teach art of LGBT artists? 3. How can we appropriately introduce LGBT issues into classroom conversations? Key Findings Gude found that in order to teach LGBT art as a non-LGBT educator, one must acknowledge the dilemma that whenever someone else represents a culture, it is diminished because they can never fully explain the “total reality of the subject.” Getting as close to the source as possible, such as using artist statements, interviews and video clips would alleviate some of the issues of personal bias. She also feels that eliminating the terminology of “LGBT” and “non-LGBT” and instead the use of a group description such as “people who appreciate living in a society in which people openly express diverse sexualities” (p 74) might bring a cohesiveness to teaching to a diverse group of students. She also found that in order to have a progressive education in art, the teachers and students must investigate the connection between visual and social phenomena, and reconsider what is “normal”. An open dialogue between student and teacher can lead to more critical thinking into the art that is studied. She proposed several strategies to bring to the art classroom in order to achieve a more LGBT friendly environment: 1. Clean up classroom language. Not allowing derogatory use of words like “gay” or “girl”. 2. Silently send a message about who is welcome in the class, such as displaying LGBT friendly posters and books. 3. Refuse to suppress difference that is routinely noted in serious critical art discourse. In other words, if an artwork is significant because of an artist’s sexuality, be sure to address this. 4. Reclaim information about queer culture in art that was not foregrounded in your art education. Don’t just spread gossip about artist’s personal lives, but do bring up important historical relationships that impacted the art world, such as the relationship between Robert Rauschenberg and Jasper Johns. 5. Include relevant gay artists when constructing thematic units. Research on how the artist’s sexuality is related to his or her art. 6. Introduce ways in which your personal cultural history intersects with gay culture, even if you are not queer. Help students understand that the critique of “normal” by LGBT artists can be life changing. 7. Let students know its cool to have a diverse group of friends. Tell stories of creative communities that inspired each other. 8. Let students know its not cool to be homophobic, and use examples from popular culture (TV, movies) that show its OK to be LGBT or live alongside LGBT people. 9. Include discussions of sexual imagery. Use artworks such as traditional sculpture from other cultures or symbolic works such as O’Keeffe’s abstracted flower paintings to diffuse the stigma around sexual imagery. 10. Deconstruct gender stereotypes in traditional art during art history. Show how male and female artists portray the same subject differently.
11. Create studio projects in which students investigate the construction of gender identity. Allow students to explore gender stereotypes and come to their own conclusions. 12. Create studio projects in which students investigate factors that have shaped their personal and group identities. Show students how art can be used to find an “identity”. Rather than “fitting in” with everyone else, use it to create or express your own culture. Perspective and Procedure This was a theoretical article that referenced the author’s own experiences as well as studies done on exploring LGBT art in a classroom. Gude has formulated her own ideas on how LGBT should be introduced into the classroom. This was written from the perspective of someone who had taught for over 30 years, in Chicago, which is a very big and diverse city. Although she is straight, it seems she was eager to work to include a discussion about diversity in her art classroom, and make it something that is not controversial. This is evident in her language surrounding her own hesitations on how best to present the subject, as well as her frequent use of LGBT words such as “queer”, as sort of a way to disarm the notion that being that way is something “bad”. Contribution to the Field I feel like it is very important to introduce LGBT art and discussion into the classroom in a safe and appropriate way, because I feel our communities are getting more and more populous and diverse. Acceptance of diversity should become the norm. The impact of visual art on society and culture is an important part of everyone’s lives. However, Gude did not address religion and the politics of religion, which I feel would be an issue from some students, especially in a school that is not as diverse. Perhaps one way to approach this is to teach from a perspective that studying a culture or an artist’s personal life does not mean we have to make a judgment on it. Many artists have had non-traditional lifestyles, but their art is still seen as important and impactful. Any personal feelings or issues could perhaps be expressed in a peaceful way, such as through student’s art projects. References
Check, E., & Lampela, L. (2003). From our voices: Art educators and artists speak out about lesbian, gay, bisexual, and transgendered issues. Dubuque, IA: Kendall/Hunt Pub.