Here the whitefella presence is subordinated to a blackfella declaration of personhood (41).” Resources and Image Creditsĭino Hodge. He is Larrakia with Chinese and Filipino heritage, and Hodge writes that Lee designed a book cover that: “honoured blackfella experiences… his interracial relationship with his partner is represented by a whitefella arm reaching across his chest and the hand resting lightly above his heart. Gary Lee was the first Indigenous person to collaborate with the Northern Territory AIDS Council, and he is a friend and collaborator to Hodge. Hodge writes that “it would be the late 1980s before Aboriginal gay men felt comfortable attending Darwin Gay Society Gatherings (37).” It addresses as well the objectification of ‘blackfellas’ by ‘whitefellas’ in the local gay community. ‘Malagas’ means ‘men.’ Dino Hodge’s Did you meet any malagas? is a collection of oral histories intended to tell a ‘gay history’ of Larrakia territory/Darwin that recognizes local, context-specific intersections of sexuality, gender, colonialism, and race. Where can I see this artwork?: Book cover of Did you meet any malagas?: A homosexual history of Australia’s tropical capital by Dino Hodge Significance to Queer Art History 177-199.ĭate & Location: 1993, Larrakia Territory, Darwin, Australia “Hanging with Christ.” Suspended Animation: Pain, Pleasure and Punishment in Medieval Culture. Cambridge: Cambridge University Press, 2015. “Situating Female Same-Sex Love in the Middle Ages.” The Cambridge Companion to Lesbian Literature, Cambridge. vision of Catherine of Siena (1347–1380) Resource(s) “Drink, daughter, from my side,” he said, “and by that draught your soul shall become enraptured with such delight that your very body, which for my sake you have denied, shall be inundated with its overflowing goodness.” Drawn close in this way to the outlet of the Fountain of Life, she fashioned her lips upon that sacred wound, and still more eagerly the mouth of her soul, and there she slaked her thirst. He tenderly placed his right hand on her neck, and drew her towards the wound in his side. The wound might be also a vulva or a breast in the writings of the medieval mystic, and indeed is sometimes represented as giving birth to a personification of the Church. Similarly, Christ’s body (and especially his wound) is often imbued with multiple genders. In cases of AMAB (assigned-male-at-birth) or masculine devotees, though, this results in a feminization. The union of a human soul with Christ was often allegorized as a bride-groom relationship. It also invites questions of gender fluidity. What does it mean for a layman (non-clergy man) to fantasize an erotic embrace with Christ? Might we find pleasure in looking at this medieval image of two men embracing? 1, invite considerations about gay and lesbian relationships.
These accounts, and visualizations like this one in Taylor MS. 1, folio 44 recto (this whole manuscript has also been digitized for online viewing) Significance to Queer Art Historyīoth men and women wrote passionately about their visionary experiences of Christ in the late medieval period.
Where can I see this artwork?: Princeton Library, Special Collections, Taylor MS. Media: Manuscript Illumination (ink and pigment on parchment)
#Eeotic gay sex art manual#
(From a late thirteenth-century copy of William of Waddington’s Manuel des pechiez/ Manual of the Sins) New York: Routledge, Taylor & Francis Group, 2020. Queer China: Lesbian and Gay Literature and Visual Culture Under Postsocialism. His pseudonym, which means ‘Siberian Butterfly,’ was chosen so that the butterfly surviving in a harsh environment could signify “the difficulty of living a gay life in a sexually conservative society (Bao, 158).”Īs Bao explores in the article cited below, Xiyadie’s work also blurs categories of ‘craft’ and ‘art,’ which in itself might be read as a queer defiance of categories. His artwork often explores the lives of queer people who are living in rural China specifically. He was born in Heyang County, Shaanxi Province and is now living in Beijing. Xiyadie (pseudonym) is the first known queer artist to carry on the traditional practice of papercutting in China, which has its roots in the Eastern Han Dynasty (Bao, 157 and Nome Gallery). Media: Papercut, Water-Based Dye, and Chinese Pigments using Xuan Paper