Blending In and Standing Out - Camouflage and Masking as Queer Tactics of Negotiating Visibility

Widok. Teorie i Praktyki Kultury Wizualnej - Siła kobiet ◽

10.36854/widok/2014.5.1443 ◽

2014 ◽

Author(s):

Magda Szcześniak

Keyword(s):

Andy Warhol ◽

Jack Smith ◽

Social Invisibility

The article considers camouflage and masking as tactics of queering the dominant regime of visibility. Departing from queer critiques of visibility voiced by such theoreticians as Peggy Phelan, Lee Edelman, Rosemary Hennessy, and Hito Steyerl, the author poses the question of what would it mean to queer visibility in a way which wouldn't force queer subjects to return to previously occupied sites of social invisibility. The answer is offered through the analysis of works by Jack Smith, Andy Warhol, Pauline Boudry & Renate Lorenz, Zach Blas, and Karol Radziszewski.

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Batman and Dracula: The Collaborations of Jack Smith and Andy Warhol

Criticism ◽

10.13110/criticism.56.2.0159 ◽

2014 ◽

Vol 56 (2) ◽

pp. 159

Author(s):

Callie Angell

Keyword(s):

Andy Warhol ◽

Jack Smith

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"The Theatricality of the Emulsion!"

Screen Bodies ◽

10.3167/screen.2019.040202 ◽

2019 ◽

Vol 4 (2) ◽

pp. 1-22

Author(s):

Benjamin Ogrodnik

Keyword(s):

Andy Warhol ◽

Gender Representation ◽

Gay Liberation ◽

Avant Garde ◽

Abstract Expressionist ◽

Jack Smith ◽

Made In

This article reexamines the career of Roger Jacoby (1945–1985), an abstract painter and gay liberation activist who became renowned for processing film in his darkened bathtub and for films that featured his partner, Ondine, the Andy Warhol Superstar. Through a consideration of film shorts made in the 1970s and 1980s, the article argues that Jacoby’s principal innovation was the exploration of hand-processing, which resulted in films that resembled abstract expressionist paintings in motion. Additionally, it considers hand-processing as an overlooked, albeit powerful, vehicle for expressing non-normative sexuality in American avant-garde film. It situates Jacoby alongside gay filmmakers Kenneth Anger, Gregory Markopoulos, and Jack Smith, and considers how hand-processed media can generate a “corporealized” spectator and disrupt patterns of filmic illusionism and heterosexist protocols of sexual/gender representation.

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The Sound of Queer Experimental Film

10.1093/acprof:oso/9780190469894.003.0013 ◽

2017 ◽

Author(s):

Juan A. Suárez

Keyword(s):

Epistemic Uncertainty ◽

Frame Of Reference ◽

Andy Warhol ◽

Experimental Film ◽

Jack Smith ◽

Open Question

This chapter characterises the music and sound of queer experimental film. It starts out with a historical revision of some social, cinematographic and musical developments that impinged on the evolution of queer experimental film. It then theorises about the possibility of a queer sound and music. And it subsequently characterises three modalities of aural queerness: camp, noisiness and dissonance. These modes share an epistemic uncertainty about the location and the very matter of what counts as queer, so that queerness has to be explored as an open question or a potential frame of reference; as a possibility that is communicated by sound just as much as by the image. The chapter takes as examples of these modes both historical filmmakers, such as Jack Smith, Kenneth Anger, Andy Warhol and Barbara Hammer, and more recent ones, such as Hans Scheirl, David Domingo, Jennifer Reeves, Luther Price and William E. Jones.

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Lacan and the posthuman : prosthetic body in the works of Andy Warhol and David Cronenberg

10.32469/10355/14300 ◽

2011 ◽

Author(s):

Svitlana Matviyenko

Keyword(s):

Andy Warhol ◽

David Cronenberg

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Screen Presence

10.3366/edinburgh/9781474403375.001.0001 ◽

2016 ◽

Author(s):

Stephen Monteiro

Keyword(s):

Contemporary Art ◽

Social Contexts ◽

Popular Media ◽

Andy Warhol ◽

Film Culture ◽

Artistic Practice ◽

Popular Film ◽

Robert Rauschenberg ◽

Mona Hatoum ◽

Source Materials

Cinema plays a major role in contemporary art, yet the deeper influence of its diverse historical forms on artistic practice has received little attention. Working from a media and cultural studies perspective, Screen Presence explores the intersections of film, popular media, and art since the 1950s through the examples of four pivotal figures – Andy Warhol, Robert Rauschenberg, Mona Hatoum and Douglas Gordon. While their film-related works may appear primarily as challenges to conventional cinema, these artists draw on overlooked forms of popular film culture that have been commonplace, and even dominant, in specific social contexts. Through analysis of a range of examples and source materials, Stephen Monteiro demonstrates the dependence of contemporary artists on cinema’s shifting applications and interpretations, offering a fresh understanding of the enduring impact of everyday media on how we make and view art.

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