Queerness is as hard to define as contemporary art. It is much harder even to ask, “What is queer art?” and “Is there such a thing as a queer aesthetic?”
The term “queer” as we now know it was used in the 1990s by political activist groups—Act Up, Queer Nation, OutRage, PUSSY (Perverts Undermining State Scrutiny), Transsexual Menace, Lesbian Avengers and Transgender Nation—fighting for the rights of historically marginalized groups, not only LGBT but also women, sex workers, ethnic minorities and people with HIV/AIDS. At its essence, queerness is about challenging labels, isms and hierarchical standards.
Thank Gosh for Alice defines queer art as broadly as possible. It is that produced by artists who identify as LGBTQIA and/or deal with LGBTQIA topics. But it is also more than that. Based on the above definition of queerness, all art that questions, critiques and provokes potentially falls under the subcategory queer. This blog extends the idea that our identities, our communities and our politics affect how art is produced and consumed. The idea that art, whether intentionally or not, reflects the era in which we live.
Unfortunately, there is very little serious, academic research or arts criticism being published about LGBTQIA issues in art history let alone contemporary art. Thank Gosh for Alice wants to remediate this by educating readers about the underwritten history of queer art and how it applies to the contemporary art world, by acknowledging the achievements of queer artists, and by mapping out the influences of art on queer culture and vice versa. Serving both as an informative resource and community forum, Thank Gosh for Alice enthusiastically encourages reader feedback.
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