Description
Is the word “Queer” being substituted for the word “Lesbian” in museum text? If so, is this erasing lesbian representation in museum practice? Amy K. Levin (2010) states that in museum work there is little evidence of the contribution of lesbians to society, which mirrors the silences, gaps and distortions of lesbian lives in LGBTQ histories in general. The contemporary media is increasingly employing alternative terms for lesbian, with the all-encompassing term queer potentially obliterating the ‘’l” word. While “Queer” is cool and collective, “lesbian” is insular, isolating and conservative. How can museum practices and their exploration re-address these misrepresentation and erasures?This paper will consider the importance of text in structuring exhibitions and visitor understanding through the examination of three UK exhibitions; Gay Icons, the National Portrait Gallery, London (2 Jul-18 Oct 2009), Queer British Art 1861-1967, Tate Britain, London, 5 Apr-1 Oct 2017) and Gluck: Art and Identity, Brighton Museum & Art Gallery, East Sussex (18 Nov 2017-11 Mar 2018). An examination of the aims and achievements of each exhibition will show the particular relationship each has with lesbianism, and how particular framings of lesbianism and queer identity emerges through the physical collections, arrangement of the galleries, visitor perspectives and texts. The paper will argue that substituting “lesbian” with “queer,” particularly when describing the historical material world has profound implications for contemporary society. Through examining the interrelation of museum practice, material culture and text, the paper will reconsider the roles and responsibilities of curators to lesbian and queer communities today.
| Period | 13 Jun 2019 |
|---|---|
| Event title | Gayness in Queer Times Conference |
| Event type | Conference |
| Location | Brighton, United KingdomShow on map |