Shifting Male Bonds in the Visual Arts: Queer Visual Art Created by Heterosexual Male Artists

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F60461071%3A_____%2F14%3A%230000393" target="_blank" >RIV/60461071:_____/14:#0000393 - isvavai.cz</a>

Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Shifting Male Bonds in the Visual Arts: Queer Visual Art Created by Heterosexual Male Artists

Popis výsledku v původním jazyce

In 1904, heterosexual painter Miloš Jiránek exhibited in the exhibition hall Manes in Prague the painting Shower in the Sokol, Prague that portrayed a very concentrated representation of naked men having a shower after a sport performance and communicating with each other. A naked man in the middle is bending over a washbasin with only his back visible, and viewers are confronted with exposed male buttocks in the centre of their gazes. This painting evoked an unprecedented scandal and had to be removedfrom the exhibition. The critics said that it was a promotion of homosexuality and homoeroticism. The only tolerant critics were a woman (who managed to overlook the homoerotic scandal and reviewed only the artistic qualities of the work) and a critic (who publicly identified as homosexual), both who considered the painting very inspirational. This chapter examines strategies used for the creation of queer visual representations and visual codes, which are traditionally understood as dem

Název v anglickém jazyce

Shifting Male Bonds in the Visual Arts: Queer Visual Art Created by Heterosexual Male Artists

Popis výsledku anglicky

In 1904, heterosexual painter Miloš Jiránek exhibited in the exhibition hall Manes in Prague the painting Shower in the Sokol, Prague that portrayed a very concentrated representation of naked men having a shower after a sport performance and communicating with each other. A naked man in the middle is bending over a washbasin with only his back visible, and viewers are confronted with exposed male buttocks in the centre of their gazes. This painting evoked an unprecedented scandal and had to be removedfrom the exhibition. The critics said that it was a promotion of homosexuality and homoeroticism. The only tolerant critics were a woman (who managed to overlook the homoerotic scandal and reviewed only the artistic qualities of the work) and a critic (who publicly identified as homosexual), both who considered the painting very inspirational. This chapter examines strategies used for the creation of queer visual representations and visual codes, which are traditionally understood as dem

Druh

C - Kapitola v odborné knize

CEP obor

AL - Umění, architektura, kulturní dědictví

OECD FORD obor

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Projekt

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Návaznosti

V - Vyzkumna aktivita podporovana z jinych verejnych zdroju

Rok uplatnění

2014

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název knihy nebo sborníku

Reimagining Masculinities

ISBN

978-1-84888-289-8

Počet stran výsledku

20

Strana od-do

43-64

Počet stran knihy

237

Název nakladatele

Interdisciplinary Press

Místo vydání

Oxford

Kód UT WoS kapitoly

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