By Peter Horne, Reina Lewis

Outlook explores the connection of lesbian and homosexual sexualities to visible illustration. It displays the richness of lesbian and homosexual methods of manufacturing and interpreting visible cultures, whilst it tackles such burning concerns because the good thing about adopting a queer standpoint on earlier paintings, the responses of lesbian and homosexual artists to the AIDS trouble, and society's makes an attempt to censor gay paintings. This quantity presents an area for lesbian and homosexual artists to express their paintings and speak about its dating to sexuality. It allows a breathtaking theoretical and old dialogue of where of lesbian and homosexual males inside visible cultures and exhibits how a lot has been ignored through a heterosexist method of paintings background and the learn of tradition. Richly illustrated, this publication contains statements by means of modern lesbian and homosexual artists, photographers and performers in addition to articles by means of artwork historians, cultural theorists and lesbians and homosexual activists.

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Significantly, commentators and critics of Hockney’s paintings rarely discussed the subject of this work at the time, and indeed neither did they have to hand a ready language with which to do so, nor were such concepts openly admitted in discussion of art. In contrast to Hockney’s insightful and relatively unproblematic paintings, there has been much art where the amorous subject ‘according to one contingency or another, feels swept away by fear of danger, an abandonment, a revulsion’ (Barthes 1990:29), sentiments Barthes identifies as .

Respect for Bacon’s work accumulated as the artist aged. Prices for his paintings rose dramatically, and journalists started to devote many column-inches to his work and his often enigmatic utterances. Attention increased as he approached his eightieth birthday. Bacon showed little reluctance to be photographed, invariably appearing fitted out in smart leather bomber jacket and posed, like the phoenix, amongst the piles of detritus in his studio, or in his favourite Soho drinking hole. Melvyn Bragg’s now infamous South Bank Show (9 June 1985) made Bacon’s sexual interests clear when the artist pointed out that his taste lay in the direction of his own sex, thus disrupting Bragg’s comments about artist’s models.

Replied ‘But darling, what difference does it make so long as you look fabulous’ (Grover 1989:42). Warhol’s own dark obsessions took a more coded form in his art which defy any simple readings. ‘Everything was just how you decided to think about it’ (Warhol, quoted in Bockris 1989:121). In the 1960s and 1970s, Warhol created brilliant icons of famous and familiar people—stars, political figures, royalty and even the Pope—adding to a basic black-and-white screen-printed image areas of bright colour to highlight the eyes, lips, hair and so on, on a close-up portrait which filled the frame.

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