In amassg work ma by the mostly overlooked gay artists who lived and died durg the crisis, a global group of llectors is refg what the Wtern non looks like.
Contents:
THE GAYT IMAG OM MICHELANGELO'S MOST FAMO PATG
"Queer Art" beme a powerful polil and celebratory term to scribe the art and experience of gay, lbian+ people. * homosexual painting *
The scholar Richard Meyer wrote Outlaw Reprentatn (2002) that the blond-haired civilian Cadm’s patg fs the characteristics of the gay male “fairy” or “pansy” archetype om the 1930s—a gay man wh feme characteristics and specific queer signifiers.
In Cadm’s patg, the effemate blond marks a ntrast wh the mascule servicemen, who wouldn’t have been nsired homosexual the 1930s even if they held same-sex sir.
Bgraphi and analysis of work by Lbian, Gay, Bisexual, and Transgenr+ intified artists, or works associated wh LGBT+ topics. * homosexual painting *
The Brooklyn Navy Yard, Tim Square, and var wateronts such as Riversi Park and the Soldiers’ and Sailors’ Monument (the likely settg of this patg) were well-known pick-up spots for gay men the 1920s and ’30s. The accsibily of public parks ma them sential entryways for men seekg pannship, and servicemen who cised the spots were enmhed val social circl for gay men. Art historian Jonathan Weberg not Speakg for Vice (1993) that the general public may not have picked up on the d homosexual inography or history of The Fleet’s In!.
Although Cadm was the subject of much art historil lerature the 1930s, the rise of Abstract Exprsnism and the artist’s known homosexualy ntributed to a steady cle scholarship; Cadm was part of a generatn of Amerin figurative artists who fell to relative obscury. At the 2019 exhibn Camp: Not on Fashn, where was placed alongsi Jean Pl Gltier’s dis sailor su riffg on the trope of gay or sexualized sailors tablished by artists like Cadm, Charl Demuth, and Tom of Fland.