Catalogue
Queer British Art 1861-1967, by Clare Barlow
Starting work on a book is always exciting – it’s an opportunity to learn and derive new insights on a particular artist or subject. The catalogue to accompany Tate’s exhibition Queer British Art 1861-1967 was no exception, but I didn’t expect it to be such a fascinating story of human interest.
The exhibition, at London’s Tate Britain until 1 October, marks the 50th anniversary of the passing of the Sexual Offences Act 1967, which partially decriminalised homosexuality in Britain. The show, which is the first in the UK to focus exclusively on queer British art, explores a century of art created between 1861, when the death penalty was abolished for sodomy in Britain, and the 1967 legal landmark. During this time, a vast range of queer experiences found expression across the arts, helping to forge a sense of community during a time when our modern categories of gay, lesbian, bisexual and transsexual were mostly – at least officially – unrecognised.
In the 100 years covered, queerness has manifested itself in art in many ways, and it was clear that the diversity of works in the book (much like the show) would have to reflect that diversity of experience. But we had to be sure that the catalogue did more than just bring together a collection of queer British artworks – to do the subject justice we would need to reveal the remarkable stories behind each work.
For instance, Robert Goodloe Harper’s 1884 portrait of Oscar Wilde, which was a wedding present to the Irish writer when he married Constance Lloyd. The painting was later sold at auction after Wilde was arrested for “gross indecency”. Evidence exposed during Wilde’s famous 1895 libel case revealed that he had been sexually involved with several young men. His reputation, marriage and finances were ruined.
The portrait was saved by Ada Leverson, one of Wilde’s friends, but her husband didn’t share her enthusiasm for it. Ernest Leverson would not hang the painting “as it was obviously, on account of its subject, demoralising to young men, and possibly to young women of advanced views”.
The groundbreaking photographic self-portraits of Claude Cahun have also become influential explorations of identity. Cahun was born Lucy Schwob and used female pronouns, but in her autobiography Aveux non Avenus she states that “neuter is the only gender that always suits me”.
The stories behind the works relate to the experience of difference – of sexuality but also class, gender identity and ethnicity. It was this diversity of experience that I found most fascinating working on the catalogue. The works in the book and exhibition show the power of LGBTQ activism, and the community that has been forged around it – a community of people proud of their non-conformity, their diversity and identity.
Queer British Art is very much a human history as well as an art historical one. It is about personal hidden histories and revelations; oppression and injustice, yet also liberation and progress. It’s a story of individuals finding themselves but also others – making connections, establishing friendships, relationships and a powerful community, which is today stronger and more active than ever before.
Emma Poulter is an editor at Tate Publishing. Queer British Art 1861-1967 is at Tate Britain, London, until 1 October
The exhibition, at London’s Tate Britain until 1 October, marks the 50th anniversary of the passing of the Sexual Offences Act 1967, which partially decriminalised homosexuality in Britain. The show, which is the first in the UK to focus exclusively on queer British art, explores a century of art created between 1861, when the death penalty was abolished for sodomy in Britain, and the 1967 legal landmark. During this time, a vast range of queer experiences found expression across the arts, helping to forge a sense of community during a time when our modern categories of gay, lesbian, bisexual and transsexual were mostly – at least officially – unrecognised.
In the 100 years covered, queerness has manifested itself in art in many ways, and it was clear that the diversity of works in the book (much like the show) would have to reflect that diversity of experience. But we had to be sure that the catalogue did more than just bring together a collection of queer British artworks – to do the subject justice we would need to reveal the remarkable stories behind each work.
For instance, Robert Goodloe Harper’s 1884 portrait of Oscar Wilde, which was a wedding present to the Irish writer when he married Constance Lloyd. The painting was later sold at auction after Wilde was arrested for “gross indecency”. Evidence exposed during Wilde’s famous 1895 libel case revealed that he had been sexually involved with several young men. His reputation, marriage and finances were ruined.
The portrait was saved by Ada Leverson, one of Wilde’s friends, but her husband didn’t share her enthusiasm for it. Ernest Leverson would not hang the painting “as it was obviously, on account of its subject, demoralising to young men, and possibly to young women of advanced views”.
The groundbreaking photographic self-portraits of Claude Cahun have also become influential explorations of identity. Cahun was born Lucy Schwob and used female pronouns, but in her autobiography Aveux non Avenus she states that “neuter is the only gender that always suits me”.
The stories behind the works relate to the experience of difference – of sexuality but also class, gender identity and ethnicity. It was this diversity of experience that I found most fascinating working on the catalogue. The works in the book and exhibition show the power of LGBTQ activism, and the community that has been forged around it – a community of people proud of their non-conformity, their diversity and identity.
Queer British Art is very much a human history as well as an art historical one. It is about personal hidden histories and revelations; oppression and injustice, yet also liberation and progress. It’s a story of individuals finding themselves but also others – making connections, establishing friendships, relationships and a powerful community, which is today stronger and more active than ever before.
Emma Poulter is an editor at Tate Publishing. Queer British Art 1861-1967 is at Tate Britain, London, until 1 October