Pub Date : 2022-01-01DOI: 10.1215/01636545-9397044
Lynda Nead
Ruth Ellis was the last woman to be hanged in Britain. On April 10, 1955, in front of witnesses, she shot and killed her lover, David Blakely, and was immediately arrested and imprisoned. In so many other ways, however, her life was similar to those of many aspirational women of the working classes in postwar Britain; she achieved notoriety because of the murder and execution. This essay uses archives of press photography to examine the diverse ways in which Ellis constructed her identity and was represented to the public as a sexualized woman. It attempts a feminist encounter with the visual archive—an encounter not only with an individual woman but also, and as importantly, with 1950s sex, sexuality, class, and violence.
{"title":"A Bruise, a Neck, and a Little Finger","authors":"Lynda Nead","doi":"10.1215/01636545-9397044","DOIUrl":"https://doi.org/10.1215/01636545-9397044","url":null,"abstract":"\u0000 Ruth Ellis was the last woman to be hanged in Britain. On April 10, 1955, in front of witnesses, she shot and killed her lover, David Blakely, and was immediately arrested and imprisoned. In so many other ways, however, her life was similar to those of many aspirational women of the working classes in postwar Britain; she achieved notoriety because of the murder and execution. This essay uses archives of press photography to examine the diverse ways in which Ellis constructed her identity and was represented to the public as a sexualized woman. It attempts a feminist encounter with the visual archive—an encounter not only with an individual woman but also, and as importantly, with 1950s sex, sexuality, class, and violence.","PeriodicalId":51725,"journal":{"name":"RADICAL HISTORY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46941075","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1215/01636545-9397086
C. McGrady
This Curated Spaces features an interview with Topher Campbell of rukus! archive. The rukus! archive was founded in 2005 by photographer Ajamu X and filmmaker and theatre director Topher Campbell. The archive is dedicated to collecting, preserving, and making available artistic, social, and cultural histories related to Black LGBTQ+ communities in the United Kingdom. Its intellectual origins reside in the work of Stuart Hall and British cultural studies, and the critical dialogue it establishes with both mainstream heritage practices and dominant Black and queer identity discourses.
{"title":"An Interview with Topher Campbell","authors":"C. McGrady","doi":"10.1215/01636545-9397086","DOIUrl":"https://doi.org/10.1215/01636545-9397086","url":null,"abstract":"\u0000 This Curated Spaces features an interview with Topher Campbell of rukus! archive. The rukus! archive was founded in 2005 by photographer Ajamu X and filmmaker and theatre director Topher Campbell. The archive is dedicated to collecting, preserving, and making available artistic, social, and cultural histories related to Black LGBTQ+ communities in the United Kingdom. Its intellectual origins reside in the work of Stuart Hall and British cultural studies, and the critical dialogue it establishes with both mainstream heritage practices and dominant Black and queer identity discourses.","PeriodicalId":51725,"journal":{"name":"RADICAL HISTORY REVIEW","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41323684","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1215/01636545-9397030
Sunny Xiang
This article examines a range of mid-twentieth-century American fashions, particularly women’s intimate wear, that went by the name of “bikini.” In doing so, it identifies the bikini as an overt but unremarkable incident of racial and colonial violence. Treating the nuclear Pacific as conspicuously incidental in mainstream atomic culture enables new insights on the visual interplay between white femininity and primitive sexuality—an interplay that, the author argues, was integral to establishing domestic virtue and modern living as atomic age touchstones of “peace.” To elaborate on this argument, this article tracks the bikini’s achievement of propriety within a broader fashion revolution spurred by the use of high-tech fibers in swim, sleep, and support garments. It shows how an atomic ideal of “nature” arose from an imperial desire for security in the face of extreme risk—both the global risk of nuclear war and the domestic risk of sexual promiscuity.
{"title":"Bikinis and Other Atomic Incidents: The Synthetic Life of the Nuclear Pacific","authors":"Sunny Xiang","doi":"10.1215/01636545-9397030","DOIUrl":"https://doi.org/10.1215/01636545-9397030","url":null,"abstract":"\u0000 This article examines a range of mid-twentieth-century American fashions, particularly women’s intimate wear, that went by the name of “bikini.” In doing so, it identifies the bikini as an overt but unremarkable incident of racial and colonial violence. Treating the nuclear Pacific as conspicuously incidental in mainstream atomic culture enables new insights on the visual interplay between white femininity and primitive sexuality—an interplay that, the author argues, was integral to establishing domestic virtue and modern living as atomic age touchstones of “peace.” To elaborate on this argument, this article tracks the bikini’s achievement of propriety within a broader fashion revolution spurred by the use of high-tech fibers in swim, sleep, and support garments. It shows how an atomic ideal of “nature” arose from an imperial desire for security in the face of extreme risk—both the global risk of nuclear war and the domestic risk of sexual promiscuity.","PeriodicalId":51725,"journal":{"name":"RADICAL HISTORY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48315975","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1215/01636545-9397101
David Serlin
In this wide-ranging conversation, David Serlin (University of California, San Diego) and Roland Betancourt (University of California, Irvine) discuss questions of sexual consent and sexual violence in the visual culture of early Christian art as inspired by Betancourt’s recent book, Byzantine Intersectionality: Sexuality, Gender, and Race in the Middle Ages (2020). Drawing on rare manuscripts and other objects of worship from institutional archives, Betancourt analyzes and contextualizes numerous Byzantine visual texts featuring often confounding representations of sexual acts or gendered behavior that later Christian interpreters would treat as conventional or settled. For Betancourt, early Christian authors and artists were far more open to troubling and experimenting with depictions of sexual and gendered narratives than many medievalists (and, importantly, non-medievalists) have been trained to see.
{"title":"Virgin Territories","authors":"David Serlin","doi":"10.1215/01636545-9397101","DOIUrl":"https://doi.org/10.1215/01636545-9397101","url":null,"abstract":"\u0000 In this wide-ranging conversation, David Serlin (University of California, San Diego) and Roland Betancourt (University of California, Irvine) discuss questions of sexual consent and sexual violence in the visual culture of early Christian art as inspired by Betancourt’s recent book, Byzantine Intersectionality: Sexuality, Gender, and Race in the Middle Ages (2020). Drawing on rare manuscripts and other objects of worship from institutional archives, Betancourt analyzes and contextualizes numerous Byzantine visual texts featuring often confounding representations of sexual acts or gendered behavior that later Christian interpreters would treat as conventional or settled. For Betancourt, early Christian authors and artists were far more open to troubling and experimenting with depictions of sexual and gendered narratives than many medievalists (and, importantly, non-medievalists) have been trained to see.","PeriodicalId":51725,"journal":{"name":"RADICAL HISTORY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42541079","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1215/01636545-9397072
Kyle Frackman
Like other Eastern Bloc countries, East Germany sought to control even its citizens’ leisure time in the 1960s and 1970s, with the goal of making it useful or at least not subversive to state interests. Certain hobbies, like amateur photography, found support from the state in the form of increased access to equipment and supplies. Other scholarship has shown that sex was a locus of privacy and self-assertion in a society with a high degree of surveillance and state control. Focusing on a previously unanalyzed collection of erotic photographs of men, the article argues, first, that the support for amateur photography makes the state an unwitting participant in the creation and circulation of these illicit images and, second, that the images are an archive of queer men’s self-presentation and critique in a context wherein their existence and affect are transgressive.
{"title":"Homemade Pornography and the Proliferation of Queer Pleasure in East Germany","authors":"Kyle Frackman","doi":"10.1215/01636545-9397072","DOIUrl":"https://doi.org/10.1215/01636545-9397072","url":null,"abstract":"\u0000 Like other Eastern Bloc countries, East Germany sought to control even its citizens’ leisure time in the 1960s and 1970s, with the goal of making it useful or at least not subversive to state interests. Certain hobbies, like amateur photography, found support from the state in the form of increased access to equipment and supplies. Other scholarship has shown that sex was a locus of privacy and self-assertion in a society with a high degree of surveillance and state control. Focusing on a previously unanalyzed collection of erotic photographs of men, the article argues, first, that the support for amateur photography makes the state an unwitting participant in the creation and circulation of these illicit images and, second, that the images are an archive of queer men’s self-presentation and critique in a context wherein their existence and affect are transgressive.","PeriodicalId":51725,"journal":{"name":"RADICAL HISTORY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42886103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1215/01636545-9397016
A. Sepahvand, M. Slater, Annette F. Timm, Jeanne Vaccaro, H. Bauer, Katie Sutton
In this roundtable, four curators of exhibitions showcasing sexual archives and histories—with a particular focus on queer and trans experiences—were asked to reflect on their experiences working as scholars and artists across a range of museum and gallery formats. The exhibitions referred to below were Bring Your Own Body: Transgender between Archives and Aesthetics, curated by Jeanne Vaccaro (discussant) with Stamatina Gregory at The Cooper Union, New York, in 2015 and Haverford College, Pennsylvania, in 2016; Odarodle: An imaginary their_story of naturepeoples, 1535–2017, curated by Ashkan Sepahvand (discussant) at the Schwules Museum (Gay Museum) in Berlin, Germany, in 2017; Queer, curated by Ted Gott, Angela Hesson, Myles Russell-Cook, Meg Slater (discussant), and Pip Wallis at the National Gallery of Victoria, Melbourne, Australia, in 2022; and TransTrans: Transatlantic Transgender Histories, curated by Alex Bakker, Rainer Herrn, Michael Thomas Taylor, and Annette F. Timm (discussant) at the Schwules Museum in Berlin, Germany, in 2019–20, adapting an earlier exhibition shown at the University of Calgary, Canada, in 2016.
在这个圆桌会议上，四位展示性档案和历史的策展人——特别关注酷儿和跨性别者的经历——被要求反思他们作为学者和艺术家在一系列博物馆和画廊中工作的经历。下面提到的展览是:带来你自己的身体:档案与美学之间的跨性别者，由珍妮·瓦卡罗(讨论嘉宾)和斯塔玛蒂娜·格雷戈里策划，分别于2015年在纽约库珀联盟博物馆和2016年在宾夕法尼亚州哈弗福德学院;Odarodle: a imaginary their_story of naturepeoples, 1535-2017，由Ashkan Sepahvand(讨论嘉宾)策划，2017年德国柏林Schwules博物馆(同性恋博物馆);《酷儿》，由Ted Gott、Angela Hesson、Myles Russell-Cook、Meg Slater(讨论嘉宾)和Pip Wallis策划，澳大利亚墨尔本维多利亚国家美术馆，2022年;以及由Alex Bakker、Rainer Herrn、Michael Thomas Taylor和Annette F. Timm(讨论嘉宾)于2019 - 2020年在德国柏林Schwules博物馆策划的《跨大西洋:跨大西洋变性人的历史》(TransTrans: Transatlantic Transgender Histories)，改编自2016年在加拿大卡尔加里大学举办的展览。
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Pub Date : 2022-01-01DOI: 10.1215/01636545-9397058
Javier Fernández Galeano
This article traces the curation of visual archives of trans subjectivity by the Franco regime. It focuses specifically on the experiences of three trans women who were prosecuted in the early to mid-1970s. Based on the definition of photographs as “material performances,” the author reconsiders recent debates about the “ethics of turning away” from forensic documents. Since Spanish privacy laws forbid the full reproduction of defendants’ photographs, this study also delves into the ethics of research on trans visibility in contexts of criminalization. The examined evidence demonstrates the disproportionate targeting of poor trans women as well as the centrality of the paseo (stroll) in their daily struggle for belonging. The confiscated photographs show a community of trans women posing in natural or public settings using different techniques to highlight the eroticism of their bodies. Likewise, trans women’s representational strategies centered joy, sisterhood, and intimacy as tenets of a livable life.
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Pub Date : 2022-01-01DOI: 10.1215/01636545-9397130
Sarah L Jones
This article outlines how an in-depth engagement with visual archives has transformed the author’s pedagogical practice. It argues that working with visual sources like photographs and illustrations offers students important opportunities to develop key academic skills, and to think critically about archives and sources. It details how working with such rich materials makes space for personal reflection and discovery, especially for students engaging with histories of sex and sexuality for the first time. Outlining the strengths of this approach, it explores some of the tensions and obstacles inherent in doing this kind of work—discussing, for example, the ethical dilemmas faced when reproducing and disseminating sexualized images in the classroom, the complexities of handling student reactions, and the activities students and the instructor have created to negotiate these issues.
{"title":"Teaching the History of Sexuality with Images","authors":"Sarah L Jones","doi":"10.1215/01636545-9397130","DOIUrl":"https://doi.org/10.1215/01636545-9397130","url":null,"abstract":"\u0000 This article outlines how an in-depth engagement with visual archives has transformed the author’s pedagogical practice. It argues that working with visual sources like photographs and illustrations offers students important opportunities to develop key academic skills, and to think critically about archives and sources. It details how working with such rich materials makes space for personal reflection and discovery, especially for students engaging with histories of sex and sexuality for the first time. Outlining the strengths of this approach, it explores some of the tensions and obstacles inherent in doing this kind of work—discussing, for example, the ethical dilemmas faced when reproducing and disseminating sexualized images in the classroom, the complexities of handling student reactions, and the activities students and the instructor have created to negotiate these issues.","PeriodicalId":51725,"journal":{"name":"RADICAL HISTORY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43630780","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1215/01636545-9397159
C. Leigh
Carol Leigh (also known as Scarlot Harlot) is an artist, author, filmmaker, and sex workers’ rights activist. She famously coined the term sex work, a fundamental part of the lexicon regarding all workers’ rights, owed in large part to Leigh’s artistic and activist career. Working primarily through the medium of performance and video, her work attempts to educate and broaden audiences’ understanding of sex work and the fundamental rights sex workers deserve. Carol’s Curated Spaces feature takes the form of a visual essay comprising images from her archive, along with an introductory statement from Carol, giving an overview of her trajectory as an artist and activist.
Carol Leigh（又名Scarlot Harlot）是一位艺术家、作家、电影制作人和性工作者权利活动家。她创造了“性工作”一词，这是关于所有工人权利的词典的一个基本部分，这在很大程度上归功于李的艺术和活动家生涯。她的作品主要通过表演和视频媒介，试图教育和扩大观众对性工作和性工作者应享有的基本权利的理解。卡罗尔的《策展空间》以一篇视觉文章的形式呈现，其中包括她档案中的图像，以及卡罗尔的介绍性陈述，概述了她作为艺术家和活动家的轨迹。
{"title":"Carol Leigh, a.k.a. Scarlot Harlot","authors":"C. Leigh","doi":"10.1215/01636545-9397159","DOIUrl":"https://doi.org/10.1215/01636545-9397159","url":null,"abstract":"\u0000 Carol Leigh (also known as Scarlot Harlot) is an artist, author, filmmaker, and sex workers’ rights activist. She famously coined the term sex work, a fundamental part of the lexicon regarding all workers’ rights, owed in large part to Leigh’s artistic and activist career. Working primarily through the medium of performance and video, her work attempts to educate and broaden audiences’ understanding of sex work and the fundamental rights sex workers deserve. Carol’s Curated Spaces feature takes the form of a visual essay comprising images from her archive, along with an introductory statement from Carol, giving an overview of her trajectory as an artist and activist.","PeriodicalId":51725,"journal":{"name":"RADICAL HISTORY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49193019","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1215/01636545-9397144
A. Boylan
Interview with Derek Conrad Murray, professor of history of art and visual culture at the University of California, Santa Cruz. Murray discusses his new book, Mapplethorpe and the Flower: Radical Sexuality and the Limits of Control (2020), selfies, and the present and future potentials and limitations of visual studies.
{"title":"“The Cost of That Revealing”","authors":"A. Boylan","doi":"10.1215/01636545-9397144","DOIUrl":"https://doi.org/10.1215/01636545-9397144","url":null,"abstract":"\u0000 Interview with Derek Conrad Murray, professor of history of art and visual culture at the University of California, Santa Cruz. Murray discusses his new book, Mapplethorpe and the Flower: Radical Sexuality and the Limits of Control (2020), selfies, and the present and future potentials and limitations of visual studies.","PeriodicalId":51725,"journal":{"name":"RADICAL HISTORY REVIEW","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66117714","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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