Exhibit lgbtq
Love in a Dangerous Time: Canada's LGBT Purge (Level 1 Gallery) Love in a Perilous Time: Canada’s LGBT Purge
sizzle reel
The Purge was one of the longest‐running, largest‐scale violations of human rights in the workplace in Canadian history. Love in a Dangerous Time: Canada’s LGBT Purge brings to beam stories from this dark period, which is well documented yet not well known.
The exhibition is about much more than government policy and past injustice. It is about courage and perseverance, about loss and triumph. Most importantly, it is about individuals — those who suffered discrimination and who stood up against powerful and pervasive biases.
Survivors took the government to court in the 1980s and 1990s. Their actions finally dismantled the Purge. The activists who fought for justice in their hold lives also paved the way for other members of the 2SLGBTQI+ group and for future generations.
While honouring these courageous activists, this exhibition also seeks to generate recent conversations, engaging with youth and connecting the past to present issues.
Inspired artworks
Love in a Dangerous Time includes two ar
Challenging Hetero-centrism and Lesbo-/Homo-phobia: A History of LGBTQ exhibi-tions in the U.S.
Notes
1 Agreement Hammond, “A Lesbian Exhibit at 112 Greene Lane Workshop, January 21 - February 11, 1978,” In a Different Light: Visual Culture, Sexual Identity, Homosexual Practice, City Lights Publishers, San Francisco, 1995, p. 45.
2 Ibid., p. 44.
3 Mark Joseph Stern. 2013. “Is MoMA Putting Artists Back in the Closet?” Slade, February 26.
4 Ibid.
5 Ken Silver, “Modes of Disclosure: The Construction of Gay Identity and the Rise of Pop Art,” Hand Painted Pop: American Art in Transition, 1955-62, Museum of Contemporary Art, Los Angeles, 1992, pp. 179-203.
6 Terry Wolverton, “Great American Lesbian Art Show,” In a Different Light: Visual Culture, Sexual Culture, Queer Practice, City Illuminated Publishers, San Francisco, 1995, p. 50.
7 From the GALAS Brochure, 1980, unpaged.
8 Diane Elvenstar. 1980. “Art from Closet to Gallery.” Los Angeles Times, May 27, pp. G1–G2; “National network honors lesbian artists.” Gay Community News 7.38, April 12, 1980, p. 2. [No author.]
9 The 19 artists were Charley Brown, Scott Burton, Craig Carver, Arch Connelly, Janet Coo
The current global landscape for queer and trans people is uneven: acceptance, solidarity, and visibility exist alongside hatred, censorship, and outright legal prohibition in distinct parts of the nature. Thus, on the one hand, greater attention to Lesbian, Gay, Bisexual, Trans, Queer, Intersex, and Asexual (LGBTQIA+) issues has created increased opportunities for openly queer and trans artists and thinkers. On the other hand, LGBTQIA+ people around the world—impacted differently by race, class, gender, age, nationality—continue to confront repression. Within this context, Queer Histories gathers works that thematize queer topics or are made by LGBTQIA+ artists, activists, and researchers. The show celebrates the richness and multiplicity of queer creativity in the visual arts, aligned with MASP’s mission which defines the museum as “diverse, inclusive and plural.”
The exhibition is organized in eight sections. On the first floor gallery are “Biblioteca Cuir,” “Icons and Muses,” “Spaces and Territories,” and “Love and Desire.” On the second sublevel gallery, “Sacred and Profane,” &ldqu
The V&A's LGBTQ (Lesbian, Male lover, Bisexual, Transgender, Queer) Productive Group is comprised of Museum staff with an interest in using the V&A’s collections to scout issues of gender, sexuality and identity.
We look to unearth previously hidden or unknown LGBTQ histories in the collections and aim to facilitate understanding of LGBTQ identities and histories through research, public programming, discussion and debate. We also consider the ways in which visitors themselves interpret and make instinct of museum objects on the basis of their own identities and experiences.
Investigation into these subjects can be emotional, throw up many questions and provide only partial answers. We aim to progress these issues through future projects and events.
The V&A's collections contain a vast range of objects that relate to LGBTQ histories and concerns. Objects may be considered LGBTQ-related for a variety of reasons, including: individuals associated with the object (artist, sitter, maker, owner, etc.); the content or 'message' of the object; and current or historic connotations and connections.
Our guide, Out On Display, features 30 objects which possess a variety of
LGBTQ+
An overview of our recent work with LGBTQ+ communities.
Exhibitions
Queer the Pier
This exhibition is part of Be Bold, a series of collaborative exhibitions and events programmed with Brighton & Hove’s LGBTIQ+ communities. Queer the Pier explores Brighton & Hove’s LGBTIQ+ history.
We also have a number of posts on our blog relating to this exhibition written by members of the community who worked on it.
A number of fantastic zines were produced for this exhibition which have been made available as downloadable PDFs below.
Museum of Transology
This bold, brave and profound collection of artefacts and photographic portraiture is now the largest collection characterizing trans people in the UK – if not the world — and was exhibited in Brighton Museum’s Spotlight Gallery for over two years. This was the first exhibition from our Be Bold people programme.
The Museum of Transology is a physical collection of 280 artefacts, 155 brown cardboard swing tags and 213 digital files (including motion picture, photography and melody ) donated by trans, non-binary and intersex people. The 155 swing tags have a handwritten message that explains the significance of t