Research + Response
September 22, 2011
The links below were compiled by Marcella Mendez (BFA Studio Art, 2011) to aid in research for the exhibition Queer State(s). They are meant to function as an annotated bibliography that begins to scratch the surface of the numerous fields of scholarship, activism, and artistic practice that revolve around queer discourse. Some of the texts listed can be described as “queer theory,” intersecting with ideas such as race and class. Some are more personal narratives that take the form of a memoir or biography. Some of these links point to a complex history of political activism against homophobic or heteronormative systems of power. But like the exhibition and its related programs, this list in no way is meant as a definitive overview of LGBTQ history or theory in Texas or beyond.
- Henry Abelove, Michele Aina Barale, David M. Halperin eds. The Lesbian and Gay Studies Reader (New York: Routledge, 1993)
- Sarah Ahmed, Queer Phenomenology: Orientations, Objects, Others (Durham: Duke University Press, 2006)
- Judith Butler, Gender Trouble (New York: Routledge, 1990)
- Judith Butler, Bodies that Matter: On the Discursive Limits of Sex (New York: Routledge, 1993)
- Judith Butler, Undoing Gender (New York: Routledge, 2004)
- Ann Cvetkovich, An Archive of Feelings Trauma, Sexuality, and Lesbian Public Cultures (Durham: Duke University Press, 2003)
- Martin Duberman, A Queer World (New York, New York University Press, 1997)
- Lisa Moore, Sister Acts: The Erotics of Lesbian Landscapes (Minneapolis: University of Minnesota Press, 2011)
- Jose Esteban Munoz, Disidentifications (Minneapolis: University of Minnesota Press, 1999)
- Jose Esteban Muniz, Cruising Utopia: The Then and There of Queer Futurity (New York: New York University Press, 2009)
- Eve Kosofsky Sedgewick, Epistemology of the Closet (Los Angeles: University of California Los Angeles Press, 1990)
- Eve Kosofsky Sedgewick, Touching Feeling: Affect, Pedagogy, Performativity (Durham: Duke University Press, 2003)
- Riki Wilchins, Queer Theory, Gender Theory: An Instant Primer (Los Angeles: Alyson Books, 2004)
- Nikkie Sulivan, A Critical Introduction to Queer Theory (New York: New York University Press, 2003)
- Dara Greenwald and Josh Macphee, Signs of Change (Oakland, CA: AK Press, 2010)
- Terri Griffith, “Gregg Bordowitz and David Getsy on ‘Queer,’” Episode 91, Bad at Sports, podcast audio, May 27, 2007
- Hide/Seek: Difference and Desire in American Portraiture, curated by Jonathan Katz and David Ward, 1998, National Portrait Gallery, Smithsonian Institution, Washington, D.C.
- In a Different Light, curated by Lawrence Rinder and Nayland Blake, 1995, The University of California, Berkeley Art Museum and Pacific Film Archive
- Phillip Kennicott, “‘Fire Man: Wojnarowicz, Censored by Smithsonian, Sounded an Alarm in Dire Times,” Washington Post, December 10, 2010
- ¿Y QUÉ? – Queer Art Made in Texas at Landmark Arts, curated by Harmony Hammond, 2009, Texas Tech University, Lubbock, Texas
Memoirs and (Contemporary) Lived Experiences
- Dominika Bednarska, "Passing Last Summer," in Nobody Passes: Rejecting the Rules of Gender and Conformity, ed. Matt Bernstein Sycamore (Berkeley: Seal, 2006): 71-82
- Elizabeth Clare, "Losing Home," in Queerly Classed, ed. Susan Raffo (New York: South End Press, 1997): 15-28
- Leslie Feinberg, "We are all works in progress," in Transliberation: Beyond Pink and Blue, by Leslie Feinberg (Boston: Beacon Press, 1998): 1-13
- Kate Orndorff, ed., BiLives: Bisexual women tell their stories (Tuscon, AZ: See Sharp Press, 1999)
- Kata Orndorff, “Rosa,” in BiLives: Bisexual Women Tell Their Stories, ed. Kata Orndorff (Tuscon, AZ: See Sharp Press, 1999): 66-76
- John D’emilio, The Lost Prophet: The Life and Times of Bayard Rustin (New York: Simon and Schuster, 2003)
- Leslie Feinberg, Stone Butch Blues (Ann Arbor, MI: Firebrand Books, 1993)
- Sylvia Rivera, “Queens in Exile: The Forgotten Ones," in GenderQueer: Voices From Beyond the Sexual Binary, eds. Joan Nestle, Clare Howell, and Riki Wilchins (New York: Alyson Books, 2002): 67-85
Class and Capitalism:
- Norah Carlin, "The roots of gay oppression,” International Socialism Journal, no. 42, (Spring 1989)
- John D’emilio, “Capitalism and Gay Identity,” in Powers of Desire: The Politics of Sexuality, ed. Ann Snitow, Christine Stansell, and Sharan Thompson (New York: Monthly Review Press, 1983): 100-113
- Lisa Duggan, “Crossing the Line: The Brandon Teena Case and the Social Psychology of Working-Class Resentment,” New Labor Forum 13, no. 3 (Fall 2004): 37-44
- Lisa Jervis, “If Women Ruled the World, Nothing Would Be Different,” PM Press
- JOMO, "Queer Liberation is Class Struggle,” Gathering Forces Blog, January 8, 2010
- Joanna Kadi, “Homophobic Workers or Elitist Queers?” by Joanna Kadi, in Queerly Classed, ed. Susan Raffo (New York: South End Press, 1997): 29-42
- Maria Mies, Preface to Patriarchy and Accumulation on a World Scale (London: Palgrave MacMillion, 1998)
- Sherri Wolf, "The roots of gay oppression," International Socialist Review, no. 37 (September-October 2004)
- Sherry Wolf, Sexuality and Socialism (Chicago: Haymarket, 2009)
- bell hooks, From Margin to Center (London: Pluto Press, 2000)
- Enoch H. Page and Matt U. Richardson, “On the Fear of Small Numbers: A 21st Century Prolegomenon of the US Black Transgender Experience,” in Black Sexualities: Probing Powers, Passions, Practices, and Policies by Juan Battle and Sandra L. Barnes (New Jersey, Rutgers University Press: 1999): 57-81
- Cherrie Moraga, "Queer Aztlan: The Reformation of Chicano Tribe" in The Material Queer: A LesBiGay Cultural Studies Reader, edited by Donald E. Moroton (Boulder, CO: Westview Press, 1996): 244-238
- Andrea Smith, “Queer Theory and Native Studies: The Heteronormativity of Settler Colonalism,” GLQ: A Journal of Lesbian and Gay Studies 16, no. 2 (2010): 41-68
- Nikki Sulivan, "Queer Race," in A Critical Introduction to Queer Theory (New York: NYU Press, 2003): 57-75
- Kate Bornstein and Bear Bergman, eds., Gender Outlaws: The Next Generation (Berkeley, CA: Seal, 2010)
- Sherilyn Connelly, “The Big Reveal” in Gender Outlaws: The Next Generation, edited by Kate Bornstein and Bear Bergman (Berkeley, CA: Seal, 2010): 76-82
- Emi Koyama, "Transfeminist Manifesto,” eminism.org
- TransGriot, "How can we contribute to society if you won't hire us?" TransGriot Blog, December 8, 2009
- Lisa Duggan, "Making it perfectly queer" Socialist Review 22, no. 1: 215-231
- Emi Koyama, “Michigan Womyn's Festival and Camp Trans” eminism.org
- Emi Koyama, "Whose Feminism is it anyway?" eminism.org
Sexual Liberation, Pornography and Puritanism
Love and the Origin of Family
- Silvia Federici, Caliban and the Witch: Women, the Body and Primitive Accumulation (New York: Autonomedia, 2004)
- Jonathan Ned Katz, The Invention of Heterosexuality (Chicago: University of Chicago Press, 2007)
- Faith Wilding, “Useless Gender: An Immodest Proposal for Racial Justice,” in Yes Species!, edited by subRosa and James Pei-Mun Tsang (Chicago and Pittsburgh: Sabrosa Books, 2005), 49-59
Queer Organization History
- Peggy Dennis, "Response to Ellen K. Trimberger,” Feminist Studies 5, no. 3 (Fall 1979): 451-461
- John D’emilio, "Dreams Deferred: The Birth and Betrayal of America’s First Gay Liberation Movement," in Making Trouble: Essays on Gay History, Politics and the University, by John D'emilio (London: Psychology Press, 1992): 17-56
- Stephan L. Cohen, Gay Liberation Youth Movement in New York: An Army of Lovers Cannot Fail (London: Routledge, 2008)
- Combahee River Collective, "Combahee River Collective Statement," April 1977
- Leslie Feinberg, “Leslie Feinberg Interviews Sylvia Rivera: I’m Glad I Was in the Stonewall Riot,” Workers.org, 1998
- Jessi Gan, “Still at the Back of the Bus: Sylvia Rivera’s Struggle,” Centro Journal 19, no. 1 (2007): 124-139
- Thomas Harrison and Joanne Landy, “Symposium on Gays and the Left: Part One,” New Politics no. 45
- Thomas Harrison and Joanne Landy, “Symposium on Gays and the Left: Part Two,” New Politics no. 46
- Joan Nestle, Preface to A Restricted Country (Ann Arbor, MI: Firebrand Books, 1987)
- Sojourner Truth Organization, "In Partial Payment," 1981
- ACT UP Oral History Project
- Liz Highleymanm, “Radical Queers or Queer Radicals: Queer Activism in the Global Justice Movement,” in Act Up to the WTO: Urban Protest and Community-Building in the Era of Globalization, edited by Benjamin Shepard and Ronald Hayduk (New York: Verso, 2002)
- Pauline Rankin, "Sexualities and National Identities: Re-Imagining Queer Nationalism," Queer Nation Journal of Canadian Studies (Summer 2000)
Contemporary Revolutionary Organizations:
- anrcha-queer, “Response to ‘Queer Liberation and Anarchist Communism,” Boston Indymedia, June 27, 2008
- North Eastern Federation of Anarchist Communists, “Queer Liberation and Anarchist Communism,” anarkismo.net, June 17, 2008
- Tom Thompson, “Envisioning an Anarchist Alternative to Queer Political Co-Optation,” lespantheresroses.org
- Wen, "Beyond Gay Marriage and Queer Separatists: The Call for a Working-Class Queer Movement," Gathering Forces blog, October 14, 2010
- Revolutionary Communist Party USA, “On the Position on Homosexuality in the New Draft Programme,” 2001
- Graham Shaw, “Good Reason to Be Wary of Marriage,” May 28, 2008
- Sherry Wolf, “Guess Who Opposes Gay Marriage?,” Socialistworker.org, May 22, 2008
- Sherry Wolf, “Which Side Are You On?,” Socialistworker.org, May 30, 2008
- John D’emilio, "Can the Left Ignore Gay Liberation," New Politics 12, no. 1 (Summer 2008)
- John D’emilio, “The Marriage Fight is Setting Us Back,” in Against Equality: Queer Critiques of Gay Marriage, edited by Ryan Conrad (Oakland, CA: Against Equality Press, 2010): 37-42
- Kenyon Farrow, “Is Gay Marriage Anti Black???” in Against Equality: Queer Critiques of Gay Marriage, edited by Ryan Conrad (Oakland, CA: Against Equality Press, 2010): 21-31
- Rickke Mananzala and Dean Spade, “The Nonprofit Industrial Complex and Trans Resistance,” Sexuality Research and Social Policy 5, no. 1 (March 2008)
- Yasmin Nair, “Who’s Illegal Now? Immigration, Marriage and the Violence of Inclusion,” in Against Equality: Queer Critiques of Gay Marriage, edited by Ryan Conrad (Oakland, CA: Against Equality Press, 2010): 51-58
- Benjamin H. Shepard, "The Queer-Gay Assimilationist Split: The Suits vs. the Sluts," Monthly Review 53, no. 1 (May, 2001)
- Sharon Smith, “Mistaken Identity--Or Can Identity Politics Liberate the Oppressed?” International Socialism Journal 62 (Spring 1994)
- Against Equality
- Angry Brown Butch
- Beyond Masculinity
- bklyn boihood
- Charlie the Unicorn, Ace Detective
- Emi Koyama
- Matthilda Berstein Sycamore
- OP Magazine guest bloggers
- Passionate Outbursts
- Queer State(s)
- Queer Today
- Queers Without Borders
- We’re Hir We’re Queer
- American Friends Service Committee, “Queer Immigration Reading List”
- Kate Bornstein, My Gender Workbook: How to Become a Real Man, a Real Woman, the Real You, or Something Else Entirely (London: Psychology Press, 1998)
- Charlie the Unicorn, Ace Detective, “The Layperson’s Guide to Understanding the Trans* Experience and Identity,” Charlie the Unicorn, Ace Detective Blog, April 30, 1011
- People With a History
- Queer Theory Database
April 28, 2011
At an open house event for Amanda Ross-Ho's Untitled Nothing Factory, I approached a student docent for direction. My question "Where do I begin?" was answered with a succinct summation of Ross-Ho's project at the Visual Art Center: "Its always the beginning."
Within the VAC's Vaulted Gallery, Ross-Ho has assembled a series of workstations, each equipped with materials and tools for one of three activities: stretching canvas, making paper, and hand-modeling pinch pots from clay. Each of these activities initiate a process in painting, drawing or sculpting; each is a potent and generative action, though not means to an end, in and of themselves. For the first half of the exhibition, viewers are invited to become participants in each of these activities in an open-ended and interactive exchange meant to collapse the site of making with the site of presentation. In the second half of the exhibition, workstations cease production, and through a series of interventions, Ross-Ho redirects the viewer's relationship with the artwork.
In addition to being the starting point for a larger artistic project, each of the three activities lend themselves to repetition, and through repeated action, accumulation. Those who witnessed Untitled Nothing Factory unfold from its inception watched the gradual accumulation of canvas, paper, and clay vessels, though in comparison to the massive apparatus organized for generating these products, the accumulation is much more subtle. To make paper, for example, Ross-Ho has arranged eight tables equipped with the necessary screens, tubs, paper mulch, squeegees, blotters, presses, and other varied accoutrement. The resulting stack of paper, however, is modest, calling into question the efficiency of the Untitled Nothing Factory as a factory.
As a title, Untitled Nothing Factory is an oxymoron that undoes itself, following the same looping process as the project itself—a factory that makes nothing. Ross-Ho takes the function out of factory through the repetition of Sisyphisian actions, an elaborate amount of process to make something that is essentially the beginning of a process. The paper, blank canvases, and pinch pots are it. Nothing will be done with them. Paper will not be used for drawing and the canvases are finished works. Through the mildly existential, mundane action of producing without a goal outside of the production itself, Ross-Ho creates a site where objects, anecdotes, and people can accumulate, creating a loop in which the potential of the factory’s products is suspended indefinitely, or at least for the length of the exhibition.
The inclusion of “untitled” in the title is a nod to that art cliché with all its feigned severity, the blank space where pure visual experience is without direction or narration. Also notable in the exhibition, is its monochromatic palette. All resulting products range across shades of white. A recurring theme in the work is the tension between presence and absence. In this exhibition, this notion manifests across formal, spatial, and social planes. The “vacated” objects, as Ross-Ho calls them, allude to the absence of their makers and the activity that generated them in the stillness that exists since the participatory aspect of the exhibition has ceased. Capitalizing on the site of the Visual Arts Center at the center of the Department of Art and Art History, many participants will return as viewers in the second stage of the exhibition, and engage with the objects they have made in a different capacity. Viewer becomes maker; tools become artworks, and the gallery becomes a studio. All terms are reversed, and then reversed again.
Ross-Ho makes nods to the organic evolution of the process in the decisions she has made in crystallizing the work into an installation as its final stage. The canvases are slightly out of alignment, pointing to the process by which they were hung upon the wall. Tools are staged as if their user just stepped out for a cup of coffee. The scene registers as a still photograph, frozen now for the duration of the exhibition, suspended in a state of potentiality that seems a perfect meditation for a university art space.
Risa Puleo is the Assistant Curator of Contemporary Art at the Blanton Museum of Art
November 18, 2010
In creating the exhibition Losing Faith, TJ Hunt and Landon O’Brien engaged in a dialogue about the sustainability of artistic practice in the current artistic climate. Though the works were conceived independently and from personal research, the artists found affirmation in an essay by The Bruce High Quality Foundation: “Explaining Pictures to a Dead Bull.”
Because the Losing Faith exhibition operates within a university setting, the artists (one a graduating senior and one a recent alumnus) found this document particularly pertinent to their concerns, as it specifically considers institutions of art education and their changing role in contemporary culture.
"Explaining Pictures to a Dead Bull" by The Bruce High Quality Foundation.
November 1, 2010
The installation is very much about material presence. I knew I wanted to work with items that help you get your zzz’s; there are so many of them in the world. For instance, an old mattress found on the side of a road. I am interested in the objects’ formal familiarity, and how you could imagine what they would feel like if you were to touch or lie down on them.
In the past I played with the idea of sleep by tiling or studding a variety of mattresses. For this show, I originally thought to tile the inside of a canopy bed frame so it would be this giant mirrored cube enclosed by the canopy bed material. That was the nexus for the show. The other works would be satellites to that piece, and the bed would act as the black hole in the center of the exhibitions’ universe. It seemed logical that the satellites would explore notions of sleep in that they would be relating back to the tiled canopy bed frame.
When I was going to tackle the tiling, however, I quickly realized it was going to be a nightmare. It was going to take so long to make and I wasn’t sure how much of an impact it was actually going to have. It didn’t seem very economical. So I decided to use the same weaving approach as in my previous “cage” works like Extruded Cage (1-2) on the canopy bed frame, only on a much larger scale and using PVC pipes to create a grid. I really liked this idea of turning it into a giant puzzle, where it would be these three materials colliding—the materials being the canopy bed frame, the mattress, and the pipes.
The Visual Arts Center is nearly 1,500 square feet, so I wanted to go big. I considered larger pieces that would lend themselves to being created by a team of students. The carpet tile floor seemed like a logical project for the students to work on. Once I had two days of ten or so volunteers coming in, in their dirty clothes, ready to spread carpet glue on these panels, I knew this installation was totally worth it, despite my previous worries. I liked how the simplicity and scale of the carpet tiles provided an opportunity for students and volunteers to have a hand in creating the show.
Some of the works in the installation are more directly associated with notions of sleep, whereas others relate to more abstract ideas. For instance, with the fan, it is hard to go to sleep when you’re hot. So it’s more of a sleep aid. The wind chimes hanging from the ceiling are also related to the state of sleep. If you were to describe the sound of the wind chime with flowery adjectives, some may say, “tranquil, serene, meditative, or calming.” The wind chimes act as the embodiment of sleep through sound. It is an everyday object in that it brings an element of sleep to your waking life.
-- As told to Katie Geha
September 30, 2010
Magali Lara’s exhibition Glaciers is based on a trip that she made to the Argentine glaciers of Patagonia at the southernmost tip of South America. These glaciers serve as a metaphor for her complex emotional relationship to her family, including her mourning a brother that died in a traffic accident and her mother’s struggle with Alzheimer’s. Like the fragments of ice that splinter off of a glacier’s edge, Lara saw the disappearance of her childhood and the increasing distance of memory.
Lara states, “The story of a landscape is also the story of links between different elements that together constitute a whole.” This notion of nature as a space for connection is furthered by her use of text and images to experience the narrative of landscape; static and moving images to reveal both quiet contemplation and the upsurge of emotion; and finally the convergence of different texts.
The Research + Response section of the VAC website is designed to be a space for the public to see behind the curatorial process. In keeping with this, the following texts give us insight into the ideas behind Magali Lara’s exhibition and the research that curators Roberto Tejada and Andrea Giunta carried out in preparation for the show. These texts include a brief essay that Professor Giunta wrote (PDF); a text by Magali Lara (PDF) about this body of work; a poem by Professor Tejada (PDF) that is included in the exhibition; and a set of documents about Patagonia compiled by Luis Adrian Vargas Santiago, a Ph.D. candidate in Art History.
These documents include:
W. H. Hudson, Idle Days in Patagonia (PDF)
Hudson, the son of U.S. settlers, was a naturalist born in Buenos Aires who eventually settled in England in 1869. In this text he meditates on the concept of whiteness as found in Patagonia, and like Lara, explores the metaphorical relationships between natural phenomena and its psychological and philosophical dimensions.
Eduardo V. Moreno, Perito Moreno’s Travel Journal (PDF)
The 19th Century Argentine explorer Perito Moreno describes Patagonia as a rugged and dangerous place. Moreno spends a great deal of time describing the native peoples that he encountered on his journeys as well as the landscape in which they lived.
- Ernesto Livon-Grosman, Geografías imaginarios (PDF)
- Francisco P. Moreno, Viaje A La Patagonia Austral (PDF)
- Germán Sopeña, Memorias de Patagonia (PDF)
- Bailey Willis, Un Yanqui en la Patagonia (PDF)
For more information on the recent legislation protecting Perito Moreno Glacier: